VV No Plays Exchanged. J Just Published-Parlor Pantomines , 

Parts. Price 25 Cents Each.'. 



T H B 




PN 3155 

,D4 
Copy 2 



(irate Cjrainals, 



HOW TO GET THEM UP AND HOW TO ACT IN THEM. 



TO WHICH IS ADDED, 



How to " Get Up" Theatricals in a Country House ; 



RULES, BY-LAWS, SELECTED SCENES, PLAYS, 






NEW YORK: 

SAMUEL FRENCH, PUBLISHER, 

No. 122 Nassau Street. 



Anything on this cover sent by mad on reclip, of price. 



FRENCH'S STANDARD DRAMA. 

Price 1 5 Cents each.— Bound "Volumes $1. 25. 



VOL. I. 

1 Ion 

2 Fazio 

8 The Lady of Lyons 

4 Richelieu 

5 The Wife 

6 The Honeymoon 

T The School for Scandal 

8 Money 

VOL. II. 

9 The Stranger 

JO Grandfather Whitehead 

11 Richard III 

12 Love's Sacrifice 

13 The Gamester 

14 A Cure for the Heartache 

15 The Hunchback 

16 Don Caesar de Bazan 
VOL. III. 

17 The Poor Gentleman 

18 Hamlet 

19 Charles II 

20 Venice Preserved 

21 Pizarro 

22 The Love Chase 

23 Othello 

24 Lend me Five Shillings 
VOL. IV. 

25 Virginius 

26 King of the Commons 

27 London Assurance 

28 The Rent Day 

29 Two Gentlemen ofVerona 

30 The Jealous Wife 

31 The Rivals 

32 Perfection 
VOL. V. [Debts 

33 A New Way to Pay Old 

34 Look Before You Leap 

35 King John 

36 Nervous Man 

37 Damon and Pythias 

38 Clandestine Marriage 

39 William Tell 

40 Day after the Wedding 
VOL. VI. 

41 Speed the Plough 

' l Romeo and Juliet 

43 Feudal Times 

44 Charles the* Twelfth 

45 The Bridal 

46 The Follies of a Night 
47IronChest [Fair Lady 

48 Faint Heart Never Won 
VOL. VII. 

49 Road to Ruin 

50 Macbeth 

51 Temper 

52 Evadne 

53 Bertram 

54 The Duenna 

55 Much MFo About Nothins 
56The,^tic 

^VOL. VIII. 

57 The Apostate 

58 Twelfth Night 

59 Brutus 

60 Simpson & Co 

61 Merchant of Venice 

62 Old Heads& Young Hearts 

63 Mountaineers [riage 

64 Three Weeks after Mar- 
VOL. IX. 

65 Love 

£5 As You Like It 

67 The Elder Brother 

68 Werner 

69 Gisippus 

70 Town and Country 

71 King Lear 

72 Blue Devils 

VOL. X. 

73 Henry VIII 

74 Married and Single 

75 Henry IV 

76 Paul Pry 

77 Guy Mannering 

78 Sweethearts and Wives 

79 Serious Family 

80 She Stoops to Conquer 



VOL. XI. 

81 Julius Caesar 

82 Vicar of Wakefield 

83 Leap Year 

84 The Catspaw 

85 The Passing Cloud 

86 Drunkard 

87 Rob Roy 

88 George Barnwell 

VOL. XII. 

89 Ingomar 

90 Sketches in India 

91 Two Friends 

92 Jane Shore 

93 Corsican Brothers 

94 Mind your own Business 

95 Writing on the Wall 

96 Heir at Law 

VOL. XIII. 

97 Soldier's Daughter 

98 Douglas 

99 Marco Spada 

100 Nature's Nobleman 

101 Sardanapalus 

102 Civilization 

103 The Robbers 

104 Katharine and Petruchio 

VOL. XIV. 

105 Game of Love 

106 Midsummer Night's 

107 Ernestine [Dream 

108 Rag Picker of Paris 

109 Flying Dutchman 

110 Hypocrite 

111 Therese 

112 La Tour de Nesle 
VOL. XV. 

113 Ireland As It Is 

114 Sea of Ice 

115 Seven Clerks 

116 Game of Life 

117 Forty Thieves 

118 Bryan Boroihme 

119 Romance and Reality 

120 Ugolino 

VOL. XVI. 

121 The Tempest 

122 The Pilot 

123 Carpenter of Rouen 

124 King's Rival 

125 Little Treasure 

126 Dombey and Son 

127 Parents and Guardians 

128 Jewess 

VOL. XVII 

129 Camille 

130 Married Life 

131 Wenlock of Wenlock 

132 Rose of Ettrickvale 

133 David Copperfield 

134 Aline, or the Rose of 
13.3 Pauline [Killarney 

136 Jane Eyre 

VOL. XVIII. 

137 Night and Morning 

138 .Ethiop 

139 Three Guardsmen 

140 Tom Cringle 

141 Henriette, the Forsaken 

142 Eustache Baudin 

143 Ernest Maltravers 

144 Bold Dragoons 

VOL. XIX. 

145 Dred, or the Dismal 

[Swamp 

146 Last Days of Pompeii 

147 Esmeralda 
143 Peter Wilkins 

149 Ben the Boatswain 

150 Jonathan Bradford 

151 Retribution 

152 Minerali 
VOL. XX, 

153 French Spy 

154 Wept of Wish-ton Wish 

155 Evil Genius 

156 Ben Bolt 

157 Sailor of France 

158 Red Mask 

159 Life of an Actress 

160 Wedding Day 



VOL. XXI. 

161 All's Fair in Love 

162 Hofer 

163 Self 

164 Cinderella 

165 Phantom 

166 Franklin [Moscow 

167 The Gunmaker of 
163 The Love of a Prince 

VOL. XXII. 
169 Son of the Night 
,170Rory O'More 

171 Golden Eagle 

172 Rieozi 
73 Broken Sword 

174 Rip Van Winkle 
L75 Isabelle 

176 Heart of Mid Lothian 
VOL. XXIII. 

177 Actress of Padua 

178 Floating Beacon 

179 Bride of Lamermoor 

180 Cataract of the Ganges 

181 Robber of the Rhine 

182 School of Reform 

183 Wandering Boys 

184 Mazeppa 
VOL. XXIV. 

185 Young New York 

186 The Victims 

187 Romance after Marriage 

188 Brigand 

189 Poor of New York 

190 Ambrose Gwinett 

191 Raymond and Agnes 

192 Gambler s Fate 
VOL. XXV. 

193 Father and Son 

194 Massaniello 

195 Sixteen String Jack 

196 Youthful Queen 

197 Skeleton Witness 
Innkeeper of Abbeville 

199 Miller and his Men 

200 Aladdin 
VOL. XXVI. 

201 Adrienne the Actress 

202 Undine 
!03 Jessie Brown 

204 Asmodeus 

205 Mormons 

206 Blanche of Brandywine 

207 Viola 
Deseret Deserted 

VOL. XXVII. 

209 Americans in Paris 

210 Victorine 

211 Wizard of the Wave 

212 Castle Spectre 
13 Horse-shoe Robinson 

214 Armand, Mrs Mowatt 

15 Fashion, Mrs Mowatt 

16 Glance at New York 

VOL. XXVIII. 

17 Inconstant 

18 Uncle Tom's Cabin 
[9 Guide to the Stage 
20 Veteran 

221 Miller of New Jersey 

222 Dark Hour before Dawn 

223 Midsum'r Night's Dream 
[Laura Keene's Edition 

24 Art and Artifice 
VOL. XXIX 

225 Poor Young Man 

226 Ossawattomie Brown 

227 Pope of Rome 

228 Oliver Twist 

229 Pauvrette 

230 Man in the Iron Mask 

231 Knight of Arva 

232 Moll Pitcher 
VOL. XXX. 

233 Black Eyed Susan 
34 Satan in Paris 

J35 Rosina Meadows [ess 

236 West End, or Irish Heir- 

237 Six Degrees of Crime 

238 The Lady and the Devil 



VOL. XXXI. 
241 Merry Wives of Windsor 
f242 Mary's Birthday 

243 Shandy Maguire 

244 Wild Oats 

245 Michael Erie 

246 Idiot Witness/ 

247 Willow Copse 

248 People's Lawyer 

VOL. XXXII. 

249 The Boy Martyrs 

250 Lucretia Borgia 

251 Surgeon of Paris 

252 Patrician's Daughter 

253 Shoemaker of Toulouse 

254 Momentous Question 

255 Love and Loyalty 

256 Robber's Wife 

VOL. XXXIII. 

257 Dumb Girl of Genoa 

258 Wrec'k Ashore 

259 Clari 

260 Rural Felicity 

261 Wallace 

262 Madelaine 

263 The Fireman 

264 Grist to the Mill 

VOL. XXXIV. 

265 Two Loves and a I ife 

266 Annie Blake 

267 Steward 

268 Cap'ain Kyd 

269 Nick of the Woods 

270 Marble Heart 

271 Second Love 

272 Dream at Sea 

VOL. XXXV. 

273 Breach of Promise 

274 Review 

275 Lady of the lake 

276 Still Water Ruu3 Deep 

277 The Scholar 

78 Helping Hands 

279 Faust and Marguerite 

280 Last Man 

VOL. XXXVI. 

281 Belle's Stratagem 
2S2 Old and Young 

283 Raffaella 

284 Ruth Oakley 

285 British Slave 
A Life's Ransom 

287 Girahia 

288 Time Tries All 

VOL. XXXVII. 

289 Ella Rosenburg 

290 Warlock of the Glen 
191 Zelina 

292 Beatrice 

293 Neighbor Jackwood 

294 Wonder 

295 Robert Emmet 

296 Green Bushes 
VOL. XXXVIII. 

297 Flowers of th< 

293 A Bachelor of Arts 

299 The Midnight Banquet 

300 Husband of aa H.i 

301 Love's Labor Lust 

302 Naiad Queen 

303 Caprice 

304 Cradle of Liberty 

305 The Lost Ship 

306 Country Squire 

307 Fraud and its Victims 

308 Putnam 

109 King and Deserter 

310 La Fiammina 

311 A Hani St uggle 

312 Gwinnett/ Vaughan 
VI. L. XL. 

313 The Love Knot ( Judge 
314Lavater, or Not a Bad 
315 The Noble Heart 
3'6Coriolanus 

317 The Winter's Tale 
3l S Eveleen Wilson 



* 



239 Avenger or Moor of Sicl- 319 Ivanhoe 

240 Masks and Faces ) ly|320 Jouathan in England 



(Catalogue continued on t hird page of cover.) 



ffJU- Zf ° 

THE 

AMATEUR'S HAND-BOOK 

AND GUIDE TO HOME 

OE 

DRAWING ROOM THEATRICALS. 

HOW TO GET THEM UP AND HOW TO ACT IN THEM 



EDITED^-BY 

TONY DENIER, 

THE CELEBRATED C03IIC PANTOMIMIST, 

Author of Denier's Parlor Pantomimes, Stage Requisites, and several of the 
most Successful Pantomimes ever produced. 

TO WHICH IS ADDED 

HOW TO "GET UP" THEATRICALS 

IN A COUNTRY HOUSE. 



TOGETHER "VFITH RULES, BY-LA"WS, SELECTED SCENES, PLATS, ANB 
' EVERYTHING USEFUL FOR THE INFORMATION OF 



AMATEUR SOCIETIES. 




NEW TO 
SAMUEL FRENCH, 

No. 122 Nassau Street. 




r/Ml 

Is 7 






Entered according to Act of Congress, ia. the year 1866 

BY O. A. ROORBACH, 

In the Clerk's Office of the District Court of the United States for the Southern 
District of ISTew York. 



i 



4 

CONTENTS. 
is 

•~*_« 

PAGE. 

' Preface 5 

Diagram and Explanation of Stage Directions 6 

Introduction 7 

The Company % . 9 

The Manager 12 

The Theatre 14 

Scenery 18 

Scene Painting 20 

Stage Illusions and Effects 23 

Pieces suitable for Private Representation 2G 

Of Acting 29 

Dressing, Making Up, Properties, &c 33 

The Prompter 37 

Scene Plot of " The Brigand" 40 

Rehearsals 42 

The Audience 43 

Theatrical Tradesmen 44 

How to ' ' Get Up ' ' Theatricals in a Country House 45 

Classification of a Company 49 

Selected Scenes for Amateurs 51 

List of Plays for Drawing- Room Representation 54 

Rules of an Amateur Club 64 



IV CONTENTS. 

TJU5E. 

Postal Arrangements 66 

Private Theatricals 67 

General List of appropriate Pieces for Amateur Performances 71 

List of Pieces suited for Amateur Performances, with number of 

Male and Female Characters in each 76 

Business Announcements of Theatrical Tradesmen, Agents, Teach- 
ers, &c 84 to 93 



PREFACE. 



In presenting this little work to the public, there is no fear of trench- 
ing on vested interests or occupied ground. It is entirely new in object 
and treatment, and I am quite sure will be thankfully received by those 
for whose instruction and interest it is intended. 

The development of the movement in favor of Home Acting has been 
the anxious study and deliberate purpose of the Editor ; from a consci- 
entious conviction that, properly carried out, it would most importantly 
add to the general happiness of society ; while it is not easy to overrate 
the benefit in general demeanor and correctness of speech which it 
insures, or the opportunity it yields for a meeting of the sexes upon a 
neutral platform in which both appear to compete on equal terms, 
without favor or affectation, for the happiness of their friends, and the 
development of their own talents and accomplishments. Gaming and 
intoxication have disappeared from rational society. Home Acting can 
supply the interest of the one, and the exhilaration of the other, without 
their concomitant evils. The variety of pieces I have published, offer 
a satisfactory choice for the most scrupulous parent or pastor. Many 
or few, we have provided for all reasonable tastes, and how to dispose 
the banquet to the best advantage, these pages will, I trust, make 
sufficiently plain. 

I am deeply indebted for much valuable information, to "W. J. Sorrell's 
work on Drawing-Koom Theatricals, and also to a distinguished English 
Amateur, an officer in the British Indian army, for laws and rules 
governing English Dramatic Societies ; these, with the laws of American 
Amateurs, and selections of appropriate plays for performance, it is 
hoped by the Editor, (for many years favorably known as manager and 
director of Private Theatricals), will render the work most complete 
and desirable. With this idea and belief, he begs to subscribe himself 
the grateful servant of that public who have so warmly welcomed and 
generously responded to his labors. T. D. 



DIAGRAM 

AND 

EXPLANATION OF THE STAGE DIRECTIONS. 

The Actor is supposed to face the Audience. 



D. It. C. 



/ 



R. 3 E. 



/ 



R. 2 E. 



/ 



r. 1 e. 



Scene. 



\ 



L. 3 E. 



\ 



.L. 2e. 



L. 1 E. 



l. Left. 

l. c. Left Center. 

l. 1 e. Left First Entrance. 

l. 2 e. Left Second Entrance 

l. 3 e. Left Third Entrance. 

l. u. e. Left Upper Entrance. 

(wherever the Scene may be.) 

D. l. c. Door Left Center. 



c. Center. 
r. Eight. 

it. 1 e. Eight First Entrance. 
r. 2 e. Eight Second Entrance. 
r. 3. e. Eight Third Entrance. 
r. u. e. Eight Upper Entrance. 

d. r. c. Door Eight Center. 



For full instructions how to express the various passions, actions, 
etc., see Book No. 1 of Denier' s Parlor Pantomimes. 



DRAWIKG-BOOM THEATRICALS. 



CHAPTER I. 



" The stage not only refines the manners, but it is the best teacher of morals, 
for it is the truest and most intelligible picture of life." — HazlitU 



INTRODUCTION. 

The extraordinary success of the public amateur performances 
that have taken place within the past few years must doubtless 
have led many families and coteries to turn their attention to 
Private Theatricals, as an excellent medium either for the 
amusement of friends or for the realization of a sum of money 
for charitable purposes. It may be equally true that many 
others would gladly seek amusement from this same source, did 
they not think that difficulties stand in their path, which require 
a greater expenditure of time, trouble and money, than they are 
willing to bestow in order to surmount them. 

To clear away those difficulties, or rather to prove that the 
majority of them exist only in idea, and to give advice, based on 
experience, in matters relating to Private Theatricals, is the 
object of this present work. It must, however, be distinctly 
understood that the aim is, to guide and instruct those amateurs 
who are content to metamorphose their drawing-rooms into 
Thespian courts, and also to aid those ambitious aspirants who 
are satisfied with nothing less than a " real theatre," with all its 
mysteries of flies, flats, borders, sets and wings. 

A little reflection will suffice to convince those not opposed to 
dramatic representations, that amateur acting is calculated to 



8 amateur's hand-book. 

either amuse or "bemuse" an audience of rational, well-informed 
people, according to the amount of ability displayed by the act- 
ors, and the wisdom shown in selecting the pieces to be acted. 

I know of no pleasanter evening's amusement than is afforded 
by either witnessing or assisting in the performance of a spark- 
ling one-act comedy, played by some six or seven intelligent 
ladies and gentlemen, who, if they have not professional experi- 
ence, certainly understand and can appreciate the dialogue, and 
are utterly free from all those absurd professional conventionali- 
ties, redolent of anything but actual life, which, unhappily, are 
but too often met with on the public stage. 

On the other hand, I can conceive of nothing more hopelessly 
dull and tiresome than to witness a number of amateurs enacting 
a long five-act play, more especially a tragedy. We find, in such 
cases, that they have set themselves a task which taxes their 
physical and mental powers beyond the just limits of endurance ; 
as, from the number of characters, and the necessity of sustaining 
them with dramatic continuity, it is almost impossible to find in 
a circle of private friends an adequate amount of proper talent. 
It will hence arise that one, two, or even three parts may be 
well sustained, whilst the rest are either so painfully bad, or so 
intensely ludicrous, that the interest of the audience in the play 
is destroyed, and they vail their weariness in solemn silence, or 
vent it in derisive laughter. 

If amateurs will fold their Pegasian wings, and deign to give 
amusement by selecting those lighter pieces, which require nei- 
ther intense study nor the highest dramatic art to develop them, 
they will succeed in their efforts \ but if they will plunge into 
the fathomless depths of " the legitimate drama," which demands 
the best talent and the most laborious study to make it even 
presentable, they will most surely fail. 

It is not my intention to raise in these pages the oft mooted 
and much vexed question, as to what is, or is not, the legitimate 
drama ; all I seek to establish is that Private Theatricals may be 
made, either by judgment or a want of it, most amusing or most 
wearisome; and to prove that the representation of plays by 
amateurs forms a resource for many an hour, which cannot, per- 



amateur's hand-book. 9 

haps, be more pleasurably spent. I propose to place before my 
readers a plan for their assistance and guidance, showing them 
bow to proceed in their task, regularly taking them into every 
department, and proving that their amusement is not ruinous to 
the pocket, while it must be owned that it is in some degree 
enriching to the mind. 



CHAPTER II. 



1 All will be fair actors, no need of rare actors, 

Settle your characters, bustle away — *• James Smith, 



THE COMPANY. 

The art of acting is the holding the mirror up to nature, to 
reflect character, to delineate — by means of voice, manner, 
facial expression, and gesture — certain creations drawn by the 
dramatist from his knowledge of human nature, and clothed 
either in the garb of to-day or in that of a past age. The high- 
est aim of the actor is to identify himself with the character he 
is personating — to abstract himself from the real into the ideal. 
The more thoroughly he effects this, the more complete is the 
illusion ; and if it be perfectly carried out, the audience will for- 
get the actor in the impersonation. Of course it is not to be 
supposed that many can be found, in any circle of private life, 
who have sufficient genius to reach this point. Every person 
has, however, a certain amount of individuality, or strongly- 
defined mark of character, which causes him to differ from others, 
or, in fact, makes him what he is ; and even in a number of appa- 
rently extremely common-place people, a large amount of indi- 
viduality will be discovered, which is capable of being applied to 
dramatic purposes. 

On thinking over the specialities in the characters of your 
friends and acquaintances, it will be found that one is possessed 



10 amateur's hand-book. 

of some kind of wit, another of humor, a third of shrewdness, a 
fourth is restless and irritable, a fifth is a good mimic, a sixth is 
phlegmatic, a seventh has a strong perception of character, and 
so on. Here, then, is your company ; for, as the drama deline- 
ates types of humanity, so can these friends and acquaintances be 
cast in parts which are analogous to their natural dispositions. 

In proposing to get up Private Theatricals, it will be found 
that many friends will willingly enter into the amusement; 
others, however, and perhaps those whom you most desire, may 
be difficult to obtain ; but patience, and humoring their foibles, 
may enable you at last to gain their consent, and so will your 
company be formed — resembling, probably, a fine stud of unbro- 
ken blood colts, needing training and discipline to make them in 
the least degree useful or efficient. Here, at the very threshold 
of the undertaking, I must enforce upon all concerned in Private 
Theatricals, that "Earnestness" must be their motto. They 
must enter into the spirit of the amusement — abandon them- 
selves, in short, to its fascinations, and endeavor to do their best ; 
otherwise the most disastrous results will follow : some will grow 
discontented with their parts, others will not attend rehearsals, 
and others again will not even take the trouble to learn their 
speeches; in short, if the actors show a want of interest, so sure- 
ly will a failure follow. It can be no great hardship to any per- 
son to enter con amove into a pleasant amusement, and if he do 
not intend to do so, nothing can possibly justify his undertaking 
a part, the ill acting of which may ruin a play and spoil the 
amusement of eighty or a hundred people. 

Difficulties will doubtless arise, when the piece to be acted has 
been selected, in distributing the parts ; for, in my experience of 
Private Theatricals, I have noticed in amateurs, and especially in 
those who have never acted before, a strong desire to play 
"something with nothing but kings," or, to use a common 
expression, every one is anxious to play first fiddle. Nearly all 
amateurs labor under the delusion that they can act " Hamlet " 
or " Richard the Third," whereas many of them are scarcely fitted 
to embody the smallest part in the lightest comedies. The man- 
ager, then — who must be selected at the very outset, and of whose 



amateur's hand-book. 11 

duties I shall speak in the next chapter — must allot the parts. 
To aid him in this task let me distinctly state, to one and all, 
that every character in a well-constructed drama is important 
and necessary, and must be well played to render the piece com- 
plete. The smallest part may be made a character of, and earn 
its meed of applause ; and every one of intelligence will see that, 
in casting a piece, the manager is often called upon to sacrifice 
personal feelings, in order that he may secure, for the best parts, 
actors who have the ability necessary to adequately sustain them. 
If the selections be made on that just principle there should be 
no discontent evinced by those who are put into parts which 
claim a smaller share of the interest of the audience. 

Care must be taken, in distributing the parts of a play to 
amateurs, to give them characters which typify their own pecu- 
liarities, unless they have sufficient talent to cast them off for the 
time being. Thus, a rattling, vivacious part, should be given to 
those who possess those qualities in private life ; the phlegmatic 
man or woman will do admirably in dull, heavy parts, and so on 
through your list of characters. It must be borne in mind that 
the mere imitator, who seems at first sight to be one of the most 
useful acquisitions to a company, is the one to be most cautious 
of, as his mimicry is not real acting. A person who gives an 
excellent imitation of a well-known actor, if cast for one of that 
actor's parts, will play it as an imitation, which must, except in 
burlesques, give rise to comparisons anything but flattering to 
the amateur. 

The company having been formed, let me, in concluding this 
chapter, again impress upon all that it is essential to the success 
of their play that they enter earnestly into the task. I may go 
so far as to say that they should even regard it, for the time 
being, as work rather than as amusement ; that they have duties 
to discharge, which, in justice to the audience and to each other, 
should be performed to the best of their abilities. 



12 amateur's hand-book. 



CHAPTEE III. 



* Theseus. — Where is our usual manager of mirth. 1 
"What revels are in hand 1 Is there no play- 
To ease the anguish of a torturing hour ?" 

Midsummer NigUVs Dream y Act V. f Scene 1. 



THE MANAGER. 

Most important of all the personages in Private Theatricals is, 
or should be, the manager. The qualifications necessary to fit 
any one for the part are, a tolerably good knowledge of technical 
stage work, a sound idea of acting, great firmness and decision. 
The last named qualities are indispensable, for it must be remem- 
bered that subordination to the dictates of the manager is most 
essential 5 to enforce which, promptness and inflexibility are 
required on the part of that functionary. Every member of the 
company must bow to his judgment in respect to all matters of 
stage business; all difficulties concerning exits, entrances, and 
positions on the stage, are to be settled by his authority ; he is 
the dramatic autocrat, whose nod and voice are laws. 

The manager must instruct all : teach the actors to seize and 
bring out the strong points of their parts, check any undue rest- 
lessness, show them how to add appropriate gestures and expression 
to the words they are uttering, and to arrange tableaux and groups. 
It will be seen, then, that the qualities required in him are those of 
a good actor, to enable him to teach others ; and also a feeling and 
knowledge of art, as in character pieces harmonies of lines and 
contrasts of color are to be arranged, so that the eye of the audi- 
ence is not vexed, and a picture spoiled, by the juxtaposition of 
attitudes and colors which are mutually destructive of each other. 

Groupings are effective, if properly arranged ; and a manager 
must be careful that a tableau should be so disposed as to lead to 
the principal characters as the chief point for the eye to rest on. 
If there are no two separate points of real attraction to be dis- 
played on the stage, all the members of a group should be connect- 



AMATEL'It's HAND-BOOK. 13 

eel to form one general whole, so that one figure could not be 
taken away without creating a void which requires to be filled up 
to complete the picture. In this case color plays an important 
part ; and, if possible, the center of the group should be bright in 
tints, and gradually fade off into well-assorted dark blues, browns 
and deep reds. 

The manager in a small company must also be the super- 
master, or the manager who allots and arranges the smaller parts, 
such as lords, ladies, peasants, servants, soldiers, &c, to fill 
which many persons will willingly lend their assistance. This 
duty requires some expenditure of time and trouble, but with a 
company of ladies and gentlemen who have made up their minds 
to do their best, it may be accomplished, and it should be the 
task of the manager, in the first instance, to induce his supernu- 
meraries to enter into the spirit of their parts — to make them, as 
far as possible, identify themselves with their characters, and, 
whether peasants or nobles, to appear in their action and gait to 
be either peasants or nobles. 

It is requisite for the manager to impress on supernumeraries 
that they are not to interfere with the main action of the play, 
but to regard themselves as the background of a living picture, 
which, while it aids and is necessary to the action in the fore- 
ground, is never to obtrude itself to the detriment of the chief 
features of the piece. When supernumeraries are called upon to 
express, by characteristic action, any emotion, such as surprise, 
fear, or exultation, care must be taken that no dull clockwork 
action is the result ; nothing can be more ludicrous than to see 
ten people, who are under the impress of surprise, simultaneously 
fling up their right arms, and strike an attitude with their left 
legs a little advanced. That is merely mechanical and conven- 
tional, whereas, if, under tuition of the manager, each individual 
expresses surprise by action in the manner which his nature dic- 
tates, the result will, with some management of the lines of the 
bodies, be life-like, startling, and picturesque. 

I cannot too strongly impress on the minds of amateurs the 
necessity that exists for the manager being an absolute monarch 
of the stage. Everything should be under his control : he should 



14 amateur's hand-book. 

arrange rehearsals and enforce punctuality on the parts of the 
actors in attending them, and he should be careful to see that all 
properties and stage furniture are forthcoming and properly ar- 
ranged, so as to assist the actor and leave him nothing to do but to 
study and give effect to his part. He will require to exercise a 
great amount of tact in managing the company : one gentleman 
will probably have a strong objection to standing still ; one will 
thrust himself into undue prominence; another will persist in 
making himself resemble a tea-pot, with one hand on his hip and 
the other pointing heavenwards ; some will whisper, others will 
gabble, and others will drone like schoolboys oyer a task ; in 
short, it is probable he will find an apparent mountain of difficul- 
ties in his path ; but patience and perseverance will in the end 
remove it. A great secret to success in a manager is never to 
confess himself beaten, whatever the difficulty — always let him 
make up his mind to overcome it, and never allow his company 
to want faith in his abilities. He will probably find himself 
worried to death by every one — all will consider that their wants 
or grievances are of the greatest importance. Let him listen to 
all and advise all, and the interest and energy he evinces in the 
theatre will animate the rest and make everything go well. 



CHAPTEE IV. 



1 Hang a curtain across the back drawing-room ; 
Block that staring mahogany door ; 
Make the book-room a carpenter's sawing-room ; 
Never mind, cut a hole in the floor." James Smith, 



THE THEATEE. 

Do not be in the least alarmed, my dear madam, about your 
charming new carpet, or your lovely satin wall paper ; far be it 
from my wish to inflict a stain on either. My dear sir, pray do 
not button up your pockets or lock up your check-book in fear; 
I assure you I will drain neither. I am no destroyer of your 
household goods — I am no thief who would rob you of untold 



amateur's hand-book. 15 

gold; so do not grumble, good parents, when your charming 
daughters tell you that Private Theatricals are " such fun." 

If the house in which the performance is to take place possess 
two drawing-rooms, a complete theatre is at once formed ; if, on 
the other hand, only one room is available, a line of division must 
be made by means of a long piece of deal about one inch in thick- 
ness, three inches broad, and the length of the width of the room 
This piece must have a hole bored in it at each end, and then, 
when the depth of the stage has been settled, a hook must be 
affixed to opposite sides of the room at about two inches from the 
ceiling, on which the piece of wood is to be suspended. 

Next, have two upright supports made, about the same thick- 
ness and breadth as the first-named piece, and long enough to 
reach from the floor to the top piece, the under-part of which 
must rest on them to make the framework firm and steady ; and, 
according to the width of the room, the uprights are to be placed 
four or five feet from the wall on either side, to form wings for 
the concealment of the actors when off the stage. The cost of 
this framework, when fixed, will be about two or three dollars. 

The next article to be procured is several yards of calico, or 
some thicker material, of a rich maroon color. This is to be cut 
and fitted to fill up the vacant spaces between each upright and 
the wall, and is to be fastened to the top piece of wood with 
small tacks. If the material is made full, to hang in folds, it 
will present a more graceful appearance. The curtain is now to 
be provided, and it may be made of green baize, or dark green 
glazed calico doubled, up the back of which, along a strong tape, 
arc to be sewn rows of small brass curtain rings, each row being 
about two feet from the edge or side of the curtain and from each 
other, and the rings in each row are to be placed about six inch- 
es apart. The bottom of the curtain is to be made with a hem, 
the same as in common window-blinds, and in this is to be placed 
a round pole of deal, to cause the curtain to hang well and not 
sway about with the wind. Through the rings at the back of 
the curtain, cords are to run, which, being fastened to the pole 
at the bottom, pass through the rings to the top, and then over 
two pulleys or movable wheels inserted in the top piece of wood, 



16 AMATEUR'S HAND-BOOK. 

and then ran on the top of that piece to the left-hand support, 
(from the stage) down the stage side of which they descend, and 
when the curtain is up are fastened to a hook in the support, 
about three feet from the floor. The curtain can be fixed to the 
top piece of wood by means of tacks. 

With respect to lighting the front part, or supplying foot-lights, 
• procure six, eight, or ten tin sconces, the backs of which, being 
highly polished, will reflect a strong light on the stage when 
placed in front of the curtain at regular distances apart, and over 
the candles which are burnt may be placed common round gas 
lamp glasses. 

Next procure some cheap wall-paper bordering, about six or 
seven inches in width, and containing plenty of bright color. 
Tack this in front of the two uprights and along the center length 
of the top piece of wood, so as to decorate the front of the stage ; 
and for this object any species of decoration which taste and 
fancy dictate may be employed. When completed, the entire 
cost of the whole portable theatre will not exceed fifteen dollars, 
and can all be put up and taken down in less than a quarter of 
an hour. 

Of course if the house possesses two drawing-rooms one can be 
made the stage, and the doors themselves will answer the pur- 
pose of a curtain, or a curtain may be made as before mentioned, 
and a piece of wood with two pulleys in it for the cords to run 
through may be screwed on the top of the molding of the frame- 
work above the doors, which, projecting from the wall, presents 
a ledge to receive it. 

Whether the portable theatre be fixed in one room or one of 
two rooms be made the stage, care should be taken that the part 
allotted for the latter have at least one door leading into it, and 
in the left-hand corner from the stage should be placed a chair, 
and, if there be sufficient space, a small table, for the use of the 
prompter — a most important personage, of whose functions and 
duties I shall treat hereafter. Care should be taken, if the rooms 
be not very lofty, that the actors are prevented from standing be- 
neath the framework of the folding doors, or the proscenium of 
the portable stage, as, if this be permitted, their height being great- 



amateur's hand-eook. 17 

cr in proportion to that of the stage, they will appear ludicrously 
gigantic. If the whole spo.ee available for the stage be very 
small, a piece must be selected containing only two or three char- 
acters, as, if more are on the scene at the same time, it will 
appear crowded and confused, while the action and interest of the 
piece will materially sufier. 



The foregoing is the author's mode of providing the proscenium 
and curtain : but a more simple course is open for adoption, and 
I insert it. The framework cannot be more easily constructed, 
only the two uprights should be secured firmly to the floor ; an 
iron peg or common door-bolt should be affixed to the foot of 
each upright, and a corresponding socket made in the floor ; this 
will give a stability to the frame of the proscenium, which is in- 
dispensable. The cross-piece may be secured to the two upr:_ 
by a cord, or better still, by two pins, such as are used to secure 
the bars of shop shutters. I should recommend also a prosceni- 
um of gracefully shaped moreen ; the winter curtains of a draw- 
ing-room would do admirably — they can be tied in the proper 
positions ; nails are not at all required. The readiest, and gene- 
rally the most preferable course as to the curtain, would be to 
have an iron rod fixed along the cross-piece of wood, along which, 
on rings, the curtain 'may be drawn on or off, meeting, of course, 
in the center. Should an ascending curtain be preferred, a com- 
mon baize or merino of the width and length required must be 
provided, and secured to a light upper batten, to hook to or 
screw on the cross-piece of the proscenium : the lower part must 
be fastened to a roller a few inches longer than the curtain, and 
about three inches in diameter, to either end of which a sash-line 
must be nailed. This line must run through a small pulley fas- 
tened at each end of the batten, and descend on the left side of 
the stage, where the two lines must be tied together and fastened 
to a hook, very low in the left upright, to hold the curtain se- 
curely when raised. 

Gas is so universal that it may be made available with little 
expense in the majority of cases. An iron pipe with a number of 



18 AMATEUR'S HAND-BOOK. 

jets may be ordered of any gas-fitter, and connected by means of 
an india-rubber tube running by the prompters side, and under 
bis control. Glass chimneys should be an indispensable adjunct 
to this arrangement. 

Where gas cannot be introduced I should recommend the pur- 
chase of a sufficient number of cheap lamps, with glass chimneys, 
which can be placed across the front of the stage, and will make 
a capital and safe float-light ; also one or two at each wing will 
be necessary, or the shadows of the performers will be constantly 
visible on the latter. As many as may be required can be. ar- 
ranged on a smooth board, and if a dark scene is requisite, a thin 
board on hinges can be easily constructed to rise or fall by a cord 
over which the prompter could have command. 



CHAPTER V. 



Puff. — " Ihen up curtain, and let us see "what our painters have don> for us.' 

Sheridan's Critic. 



SCENEEY. 

TThex I mention Scenery, I hear the sneers and derisive laugh- 
ter which are excited by the bare idea of such a thing in a 
drawing-room ; but if you have an amateur artist in the circle of 
your acquaintance, a man with an eye for color and effect, a good 
fellow who delights in large canvases, and, like poor Haydon, 
loves "to dash in the figures of my foreground,** Then we will 
have scenery ; for, noTwithstanding all that can be said about 
playing, in an ordinary apartment, pieces the scenes of which are 
laid in drawing-rooms, scenery is necessary — it is a part of the 
dramatic illusion, and scene-painting is an art in itself. In addi- 
tion, it frequently happens that the play selected demands certain 
arrangements of the stage, which the scene-painter alone can 
furnish. 

The first thing required is a painting-room, and any loft, shed, 
or outhouse will answer the purpose, (.'nee in the studio, all 



OK. 10 

I is a tolera rf unbleached calico 

or light canvas, the colors, a good supply of size, and plenty of 
wh: : procured our implements, it is n; 

get the height and width of the ste. 

I Dths,*' or care to have them 

two feet wider thai: m he cut to tl 

. sewn together, an the wall of 

painting-room by means of I 

N ::: mix together whiten :ze to a tolerably good con- 

ill work freely, then with a whitewash 
brush coat the cali : form a priming or foundation for 

orked oil As bood as it is dry. design the 
d 3 with charcoal. . fall to work, painting in distemper, 

or mixin and also 

flake white to ma] end enable 

pass one lid be from, one 

foot and a half th, and of course 

weight of the room, and the borders or pieces to 
run across the top of the stage, from wing t 
more than a foot in depth, or they will dws age more 

n-riiier.:. 

ning and execution 
great degree upon the invention and fancy of the artis :. 

: jrmer he must be careful to foil 
in the book of the play, and in the latter he mnsl ;r to 

harmonize the :n the dres ;.:r:rs. As a guide 

to him in color fee his - : let m _ : .~ . the followin, 
from "Eckermann 7 ! satkxns with Goethe." He _. 

lerallythe scenes should have i (one :;-.- arable 
to every color of the dress, like Benther^s scenery, vrhich has 
more or less of a brownish tinge, and brings : of the color of the 
Lnr^s. If^ how. 
( :> depart from so favorable an undecided tone, and to 
represent a red or yellow - nt, or a green g 

den, the actors should be 'id similar cole:- 

their dresses. If an actor in a red uniform : red room, 

the upper part of his body vanishes, and one :e seen; 



20 amateur's hand-book. 

if, with the same dress, he enters a green garden, his legs vanish, 
and the upper part of his body is conspicuous. Thus I saw an 
actor in a white uniform and dark breeches, the upper part of 
whose body completely vanished in a white tent, while the legs 
disappeared against a dark background. Even when the scene- 
painter is obliged to have a red or yellow chamber, or a green 
garden or wood, these colors should be somewhat faint and hazy, 
that every dress in the foreground may be relieved, and produce 
the proper effect." Q 



The following extract from the English Penny Cyclopedia will 
be found to convey an excellent general view of the subject • 

"Scene Painting. 
" Beginning with what is technically called the drop-scene, as 
being the simplest of all, we have merely to remark that it is 
no more than a picture or single painted surface, let down 
by way of blind or curtain between the acts, so as to close 
up the opening of the proscenium. As it generally contin- 
ues to be used for an indefinite time — the one at Covent Gar- 
den has been there ever since the theatre was rebuilt (1809) — 
the drop is more carefully executed than back scenes, which, 
showy as they may be in effect, are required only for a season, 
and are at a much greater distance from the spectators. As far, 
too, as pictorial effect and truth of perspective are concerned, 
a drop shows itself to far greater advantage than other scenery, 
which is composed of different pieces constituting what is called 
a set of scenes. These consist of the narrow upright pieces called 
side-scenes or icings, of the narrow horizontal ones (Jiang ing-scenes 
or borders,) painted to imitate a sky or ceiling, but chiefly intend- 
ed to screen the space over the stage, and of the back-scene. 
Backs, again, are of two kinds, viz. : rolling-scenes, which are let 
down from above, and fiats, which are formed of two sliding- 
scenes strained upon framing, like the wings, and meeting each 

* Eckermann'* s Conversations with Goethe. Translated by John Oxenford. 
Vol. 2, page 237 



amateur's hand-eoox. 21 

other and uniting in the center. These are employed when what 
are term<fd practicable scenes are required ; that is, doors, win- 
dows, &c, which admit of being used as real doors, &c, or else 
when there is occasion that the i flat ' should suddenly open and 
discover another scene behind it. In addition to these there are 
what are termed open flats, which are scenes cut out in places so > 
that both the background is seen and the actors can pass through ' 
them. They are commonly used for the representation of groves 
or forests, but sometimes for interiors with open arches. There 
are, besides, what are technically known as set-pieces — narrow 
scenes placed obliquely on one side of the stage when it is wanted 
to show a cottage or corner of a house with a practicable door in 
it. Lastly, there is box-scenery, as it is termed — a species of stage 
decoration very recently introduced, where, instead of the usual 
wings ranged one behind the other, there is a single scene on 
each side extending from front to back, so that the stage is com- 
pletely inclosed. By this means a more perfect representation of 
a room can be obtained than where wings are employed. 

" In fact, side-scenes or wings can be regarded as little better 
than so many detached screens absolutely necessary to shut out 
from view the space on each side of the stage, since in themselves 
they rather detract from than at all aid illusion and effect 5 more 
especially in interiors, where what should represent a continuous 
wall or surface on either side is broken into several pieces, which 
are, besides, placed parallel to the back-scene or flat, instead of 
at right angles to it. If the scenery be viewed exactly from the 
center, and from the true perspective distance, the defect thus 
occasioned is not very striking or offensive ; but if the spectator 
be near to the stage, or placed on one side of the house, the whole 
becomes more or less distorted, and the wings only so many dis- 
jointed fragments, so that all scenic illusion is destroyed; and 
should the back-scene be at a considerable distance, no part of it 
will be visible to those in the boxes next the proscenium, but 
merely the range of wings on one side and the gaps between 
them. 

" Scene-painting is executed in distemper — that is, with colors 
mixed up with size — the design being first made in a sketch. 



22 amateur's hand-book. 

which is accurately laid down to scale, and from which the per- 
spective outlines are transferred to the larger surface, instead 
of beginning with dead coloring, and then gradually working up 
his picture, the artist puts in all his effects at once (as in fresco 
painting) — the full tone of the lights and shadows, finishing as 
he proceeds, and merely retouching those parts afterwards which 
require additional depth or brilliancy. In this kind of painting, 
bravura of execution and strikingness of effect are indispensable, 
and nature must be rather exaggerated than the contrary ; at 
the same time care must be taken lest mere gaudiness be substi- 
tuted for brilliancy and richness. Further, as much of the cos- 
tume of the piece depends upon him, it is important that the 
scene-painter should not only be well skilled in architectural 
delineation, but also well informed as to the styles of different 
countries and periods, so as to avoid those errors and anachronisms 
which are frequently committed, and which are sometimes so 
glaring that no beauty of execution can atone for them. 

" Much of the effect of scenery depends upon a skillful mode of 
lighting it; in which respect considerable improvements have 
taken place of late years, and the light is now occasionally thrown 
from above as well as from the sides and the footlights. A 
variety of mechanical contrivances have also been brought to 
great perfection, so as to imitate particular effects in the most 
deceptive manner, such as those of moonlight, where the moon 
breaks through the clouds and gleams upon the water, &c, changes 
of the sky from clear to stormy, or the contrary, the sudden glare 
of fire, &c." 



The artist should be careful to avoid, if the stage be small, 
attempting to paint back-scenes with much perspective in them, 
as the actors will frequently be in immediate contact with the 
scenes, which necessarily falsifies the perspective and presents an 
absurd picture to the audience. He should also avoid painting 
sky borders, as it would be most ridiculous to fix a strip of blue 
sky across a small stage at certainly not more than two to four 
feet above the heads of the actors 5 hence let his out-door borders, 



amateur's hand-eook. 23 

which are connected with the wings, represent lattice-work with 
creeping plants or vines growing over it, or the branches of small 
trees, or arches, &c. In his landscape flats paint well-wooded 
scenes with plenty of bushes, ferns, &c. If apartments are to be 
represented, a painted window may be introduced, with a richly- 
colored curtain stretching half across it, but be careful not to 
paint articles of furniture. Of course if the painter be a true 
artist he will understand how to make all he does effective, and 
much must necessarily be left to his taste and judgment. lie 
must, however, be cautious to paint broadly, neither throwing 
away his time nor his effect by being too minute in his details. 
At the same time he must not mistake vacuity for breadth, nor 
paint too roughly ; let him use good masses of color, and always 
remember that his works are to be seen by candle-light, and 
through the medium of a very intense yellow ray. To enable 
him to judge of the effect of his work he should repeatedly re- 
move himself to the distance at which the audience will be placed 
from his scene, which will at once show whether he is painting 
too roughly or on too small a scale. With, respect to fixing the 
scenes I shall speak in the next chapter, and in quitting the sub- 
ject of scene painting let me impress upon the artist the neces- 
sity of his superintending the arrangement of the lights in the 
theatre. 



•CHAPTEE VI. 



" The. The best in this kind are but shadows ; and the worst are no worse if 
imagination amend them." — 3Iidsummer Night's Dream, 



STAGE ILLUSIONS AND EFFECTS. 
I piiorosE in this chapter to instruct my readers in the art of 
contriving those mechanical illusions and effects, which, at differ- 
ent periods of our lives, have excited our wonder and delight ; to 
tell them, in fact, how to terrify the audience by the vivid flash 
of mimic lightning, and the hoarse rumbling of the most artificial 
thunder. 



24 AMATEUR ? S HAND-BOOK. 

I commence, however, with the machinery to be employed for 
fixing the scenery. The " cloths " or back scenes are, when 
painted, to be rolled up and small round poles fastened to the bot- 
tom of them ; the scenes are then to be taken down to the stage, 
and those which are required at the back are to be hung on hook?, 
driven into the cross battens which connect the scaffold of the 
stage and support the wings on each side, close to the ceiling. The 
cloths must next be unrolled and hung one over the other in the 
order they will be required. 

To change the scenes care must be taken that each succeeding 
scene is not in the same groove as the one preceding; that is to 
say, they must be at different distances from the audience. Thus, 
supposing the cloth of the first scene is at the back of the stage, 
the second should be placed on the connecting rods between the 
Second or third entrance. When the scene is to be changed two 
persons get on the steps at either side of the stage, untie the strings 
that fasten it up at either end, and unroll it ; the wings and bor- 
ders are managed in the same manner ; of course practice will en- 
able the work of scene-shifting to be performed with facility, and 
many little contrivances will be thought of to render it as com- 
plete as possible. 

Before leaving the subject of scenery, I may mention that if the 
space behind is not very large, pieces with changes of scene should 
not be selected ; but if plenty of room is to be had, then all kinds of 
scenic effects may be indulged in, even to trick changes of scene, 
such as are found in the " Romantic Idea," when the scene sud- 
denly changes from a ruin to a gothic castle, and then back again 
to ruins \ this can be effected on a small stage by means of a flap 
or flaps painted on both sides, worked and arranged precisely on 
the same principle as pantomime tricks, and can be worked hy 
small lines, entirely invisible to the audience. 

With respect to practicable doors, a good sized clothes-horse 
makes a very good substitute, having one of the flaps placed 
between two wings, and covered with painted calico. The space 
between the top of the door and the ceiling must, of course, be 
also filled up. 

I have next to treat of lighting and its effects. In addition to 



amateur's HAND-COOK. 25 

the foot-lamps, it is also necessary to have lights near the wings, 
taking care to have them all protected with glasses. Sometimes 
it will be found necessary to produce the effect of moonlight, 
sunlight, sunset, and a greater or less amount of darkness ; and 
nothing can be easier to accomplish. To all the lights behind 
the scenes, have, in addition to the common white lamp glasses, 
for moonlight, blue glasses ; for sunlight, yellow 5 for sunset and 
for fairy land scenes, rose color. "With respect to applying these 
mediums to the foot-lamps, all that is necessary is to have long 
strips of these different colored glasses fitted in framework and 
stretching across the stage at the proscenium, and when not used, 
lying flat on the ground ; when wanted, let the one required be 
raised up so that the light shines through it on to the stage, and 
the desired effect is at once produced. To produce darkness, a 
thick piece of crape, doubled, may be fixed in a frame, and inter- 
posed between the foot-lights and the stage, and lamp-blacked 
glasses should be fitted on to the lights behind. 

Thunder is simulated by shaking a thin sheet of iron. 

Lightning is imitated with a powder called Lycopcedium 
flashed through a naked light on to the stage, which may be 
managed by blowing a small quantity of it through a tube on to 
the flame of a lamp ; or by means of a machine called in stage 
phraseology a Lycopcedium flash box, which can be purchased for 
a small sum of money ; powdered resin, if thrown through the 
flame of a candle, will produce the same effect. 

The noise of rain is produced by means of a long narrow box, 
crossed with irregular partitions, in which about half a pint of 
peas are confined ; by reversing the ends of this box rapidly or 
otherwise the due effect is obtained. A crash or the noise of 
breaking open a door is produced by means of a large watchman's 
rattle swung round briskly once or twice. The noise of break- 
ing windows, or the smash of crockery, which is often required in 
a farce, may be produced by means of several pieces of tin or 
broken china placed in a basket which is fastened down, and 
when the noise is wanted the basket is dashed down or shaken. 



26 amateur's hand-book. 



CHAPTEE VII. 



' Best of dramaticals, private Theatricals, 
All we want is to settle the play." — James /Smith. 



PISCES SUITABLE FOR PRIVATE REPRESENTATION. 

I have before expressed my entire disapproval of five-act plays 
for private performance, and have given reasons to justify my 
condemnation of them, but there may be amongst my readers 
some few legitimate skeptics, who still cling to "five long acts, 
and all to make us wiser;" therefore, I now propose to reiterate 
and enlarge upon the reasons I have adduced, and, I trust, make 
them so forcible that the question will be set at rest. 

Imprimis. — Most great dramatic works and long plays contain 
characters which display the passions at their highest and most 
striking points of development, requiring in the actors powers of 
delineating intelligibly and passionately, rage, fear, love, hatred, 
and revenge, in their utmost intensity; hence it is apparent that 
a deep study of the parts is demanded. For this is needed not 
only a memory to retain the words, but the power to conceive 
and carry out a consistent and truthful delineation of a character. 
Every word uttered must be weighed and delivered consistently 
with the human being the actor is personating, every expression 
of the face, every tone, every gesture, is, in fact, to be in conso- 
nance with the part. In short, to fill the characters in the high- 
est range of dramatic art requires not only a long course of study 
to attain the necessary stage proficiency, but natural talents, which 
but few possess, qualities which are rarely met with on or off the 
stage, and even when they exist require time, judgment, and ex- 
perience, to develop and ripen them so that they may be proper- 
ly used and not misapplied. 

Granting that the qualifications necessary for forming a good 
actor exist in one member of an amateur company, the very want 
of them in the other actors would* be more glaringly apparent by 
the strong contrast that must inevitably exist. Thus, then, an 



AMATEUR'S HAND-BOOK. . 27 

audience would center its interest not on the drama, out on one 
particular member of the company, and they would be wearied to 
death when he was not on the stage ; in short, they could only 
see a great actor instead of an entire play. 

Again, the mere length of the parts in five-act plays is too much 
for the memories and physical powers of endurance of amateurs. 
How few persons do we find who can read blank verse as it should 
be read ; how very few can master a soliloquy, so as to deliver it 
without falling into a monotonous drone ; how few are there who 
essay long parts in a play who are not forced to have recourse 
to the prompter's friendly voice ; in short, if you wish to weary 
your friends, and utterly disgust them with Private Theatricals, 
collect your troupe, select Othello, distribute your parts, and 
mark how your gallant band will mangle, disfigure, bedaub, and 
utterly deface the noble tragedy. 

I advise for an evening's entertainment that either one, two, or 
three-act plays should be selected, or two short pieces, such as a 
petite comedie and a one-act farce, or a burlesque cut down. 
Pieces of the foregoing description are to be regarded almost in 
the light of dramatic sketches, in which no attempt is made to 
reflect human nature in its deepest workings, but the author is 
content to sieze sometimes its eccentricities, and at others, its 
commonplaces. If your company be large enough, select two 
short pieces, with a different set of persons in each. 

A list of pieces suitable for private representation is appended 
to this volume, which will be found to contain a number of small 
dramas, farces, pantomimes and burlesques, that are not difficult 
to act. Some, it will be seen, rely more upon intricacy of plot 
than upon the development of character ; others, again, are defi- 
cient in the former and rich in the latter ; while a third class is 
sparkling and witty in the dialogue. According to the nature of 
the ability possessed by the company, must one of these four 
classes be selected, always, however, bearing in mind that the 
deeper the interest of the plot, and the more involved are its 
workings, or the better the dialogue, the less uncertain will be 
the success 5 for if the plot be interesting, the audience will de- 
vote much attention to unraveling its mystery, or if the dialogue be 



28 amateur's hand-book. 

racy and sparkling, its goodness will prevent the audience from 
judging the acting too critically. 

In most of the plays I have noted will be found characters which 
require an actor with humor, a quality very common in Americans. 
A rattling vivacious actor is also required ; one who can speak 
fast without gabbling, and who is easy and natural in his style of 
acting. A testy old gentleman is also needed, which gives a good 
opportunity for a clever impersonation of old age, by a young man. 
Sentimental lovers are likewise wanted, and the gentlemen who 
undertake these parts must be careful not to. fall into sentiment- 
ality ; impassionate swains are also needed, who must not mistake 
rant for force. Young ladies are required, of all orders and classes, 
sentimental, heroical, arch, vivacious, dashing, pensive, fast, slow, 
all in charming attires, and there are also hosts of little round- 
capped, cherry-ribboned, apron-pocketed waiting women, who are 
desperately in loVe with Sam, and favor the loves of Emily and 
Frederick, the plotters against gouty Sir Harry, and his horrible 
fox-hunting friend, Sir Blazeaway Reynard. All these parts can 
be easily filled by the young ladies of the company, but when I 
come to staid mammas, and elderly back-biting spinsters, in truth, 
my pen fails me, and I leave the settlement of the cast to the good 
nature of the clever ladies who are willing to make themselves 
old and disagreeable, " for this night only." 

I strongly advise " cutting " plays, or shortening them, by 
taking out parts of the dialogue. This is rather a delicate opera- 
tion, and must be entrusted to the manager. In performing this 
part of his duties, he must be careful not to take away any 
dialogue which is necessary for the proper development of the 
plot, but all long speeches may generally be compressed with 
safety, although it must be understood that cutting does not 
mean slashing recklessly at the author's work, but gently remov- 
ing a line or a few words here and there, so as to close up the 
dialogue, and make the piece go sharply. Any underplots, that 
do not affect the main story of a play, may, however, be safely 
reduced, or even omitted altogether ; as I conceive no more fatal 
error can be committed, than to call the attention of an audience 
away from the principal action to pay attention to a minor one. 



amateur's hand-book. 2y 

which runs throughout the piece without being in any way connect- 
ed with its chief interest. Most of the burlesques named require 
curtailing, and the pruning knife may be exercised to the extent 
of reducing the majority of them by at least one-third. By this 
means very many pieces, which at iirst sight seem impracticable, 
will become easy and desirable in their new form. 

If any member of the company, or friend, can concoct tolerably 
good verse, I strongly advise a prologue to be written and deliv- 
ered, which should be pertinent, and contain some strongly 
pointed allusions to the entertainment, company, host and host- 
ess, &c. ; and if some one can translate and dress up some little 
trifle from the French, so much the better, as the company will 
then be very complete, containing not only actors and scene- 
painter, but an author and a poet. 



CHAPTEE VIII. 



Ham. "Be not too tame, neither ; but let your o\ni discretion be your tutor ; 
suit the action to the word, the word to the action ; with the special observance 
that you o'erstep not the modesty of nature."— Hamlet. 



OF ACTING. 

It is not my intention to devote this chapter to an essay on 
the art of acting. I simply wish to offer a few words of advice 
on the subject for the guidance of amateurs. 

When the parts are distributed, the actor should sit down 
with the book of the play, and read the whole of the drama 
through two or three times, so as to master the idea of the author, 
and become thoroughly acquainted with the piece. By so doing 
he will discover the relationship that exists between his part and 
the other characters, and be enabled to assign to it the degree of 
prominence it is to occupy. Then let him study the conception 
of his part, and settle in what manner it is to be delineated, so 
that a character may be presented to the audience consistent 
throughout. 

The next step is to learn the. words, and to do this it will be 



30 



AMATEUR'S HAND-BOOK. 



well to copy them out, together with the " cues," or the last few 
words uttered by the actor who speaks immediately before you, 
as it is not only necessary to learn the words to be spoken, but 
also the cues, so as to be certain when to commence your own 
speeches. It is also a great assistance to mark your part in the 
printed copy of the play, and not only the words, but also the 
business, as the books will be referred to rather frequently at + he 
first two or three rehearsals. 

As the actor is mastering the text, let him pause and consider 
the actions and expression that should accompany its delivery, 
and for both these purposes a looking-glass will be of much ser- 
vice; it will prevent grimacings, and correct any tendency to 
stiff, awkward motions and half action with the arms, which are 
great faults with amateurs, who are fond of moving their limbs 
with marionette convulsiveness. In acting, the action should 
rather come after or follow the words, than accompany them, 
which enables the audience to see and appreciate its meaning. 
Action should never appear forced, but the actor must endeavor 
to render it easily and naturally; and, while action should be 
at once bold, decided, and not wavering, it must not become too 
prononce, as, if that be the case, the actor will be constantly 
striking attitudes, which, if indulged in, except in tableaux, will 
give him a style of acting that is commonly associated with over- 
the-water melo-dramatic ruffians. 

The actor is always to remember that he is playing before an 
audience, but not at it. His business is with the stage ; he is, 
for the time being, not himself, but a different individual, whose 
interests, objects, friends and enemies, are only on the stage — he 
has nothing in common with the rest of the world, and the more 
he ignores the existence of the audience, the more natural will be 
his acting ; in short, he is to regard himself as a figure in a picture, 
and to recollect that the proscenium is the frame which is his 
limit. At rehearsals, however, when the actor is creating his part, 
it is necessary to remember he will have to act to amuse ; he 
must, therefore, be careful to arrange that all he says and does 
are intelligible to the spectator^ and by frequently rehearsing, and 



amateur's hand-book. 31 

deeply studying his part in connection with the whole play, what- 
ever he does will become easy and natural to him. 

That which is most imperatively demanded in amateur actors, 
is earnestness of purpose ; let but the actor enter into the spirit 
of the play with all the enthusiasm he is capable of — let him but 
endeavor to do his best, and if he has any dramatic talent what- 
ever, the effect he produces must give rise to pleasurable emotion?. 
I cannot impress too strongly upon my readers, the necessity of 
regarding the drama they are to act, as a work of art, which is to 
be looked at by the entire company as a whole. If this view be 
not taken, the play, instead of being represented as an entire work, 
will appear broken up into parts, which, like an unfitted puzzle 
map, is simply a mass of unconnected pieces, neither pleasant nor 
profitable to regard. t 

Every play contains certain characters which are of greater or 
lesser importance, and must be rendered by the actor so that each 
maintains the place it is intended to occupy by the dramatist, 
and thus represent the lights and shades, without which, the work 
cannot be ranked as an art production. Such being the case, I 
again say, let all study their characters so as to make them form 
a part of a whole, each being complete in itself so far as regards 
its rendering by the actor, but still as only a portion of an entire 
drama ; thus, every amateur taking a character in a piece must 
not expect to enact a part in which is centered the chief interest ; 
lie must, however, bear in mind, that, no matter how trifling the 
character allotted to him, he is still a portion of a whole, and by 
subduing or heightening his acting, according to the demands of 
the story, he adds to the general efl i 

It is very needful that amateurs be taught to stand still on the 

s: nothing is more wearing than to see an actor who has a 

perpetual restlessness hi hi- Legp j the rait and bearing should be 

that of the assume:" Id man, let the walk be 

: of an old man ; if an irritable person, short, quick strides 

:id be taken; and so on. Amateurs must never, unless they 

are very sharp, gag an audience, or, in other words, play at i : 

introducing some absurdities of their own, as by doing so they to 

all intents and purposes destroy the stage illusion and the interest 



32 amateur's hand-book. 

of the drama. Of course, in burlesque, if your poet can put a few 
lines or a song bearing indirectly or directly upon the audience, 
or some members of the " set " to which you belong, great fun is 
produced. The mention of burlesques leads me to consider their 
acting; and I agree with Charles Lamb in considering that in 
pieces of this class the actor may depart from the rule of regard- 
ing the play without reference to the audience, and establish a 
cort of tacit understanding with it, taking those before the cur- 
tain partly into his confidence, and regarding them as privileged 
individuals, who are worthy of trust. This, however, must be 
carefully done, and never get beyond a kind of divided fellowship. 
In burlesques, I think the acting should be highly colored, and 
earnestly exaggerated ; thus, kings should be terribly magnificent, 
overpo\veringly cruel; young princes and prineesses should be 
most deeply in love, most romantically passionate — in short, bur- 
lesque acting ought to be, like other acting, seen through a micro- 
scope, equally true, but magnified into a grotesque kind of gran- 
deur. 

Let me, before concluding this chapter, say a few words to 
those "kind friends" who volunteer for the very small or even 
supernumerary parts. Never be dissatisfied with your charac- 
ters; if you are, throw them up at once. If, however, you 
undertake them, enter con amore into everything; make your- 
self useful ; never be above your work ; and you will then earn 
and receive your share of applause, with those who have played 
the principal parts. I have frequently heard great praise award- 
ed to actors who have played the most trifling parts when the 
acting has been careful and finished. If an actor has only three 
words to utter, or if he is only to be on the stage ten minutes 
throughout the entire piece, it surely behooves him all the more 
in the one case to deliver the words to the best of his ability, 
and in the other to show himself an artist by his action, gestures, 
and postures, although his mouth be irrevocably closed by the 
will of the dramatist. 

To all I say, remember that when on the stage they are there 
to act ; hence, even when not speaking, it is still necessary to 
act, and with good-meaning by-play fill up the parts, always 



amateur's hand-book. 33 

bearing in mind, however, when up the stage, not to let that by- 
play interfere with the business which is going on in the fore- 
ground. At the same time, let hands, face, and body act, not 
himself, but the character he presents. Thus will the actor well 
embody the dramatist's idea, and amuse the audience, which it is 
his business to send away well satisfied with the performance. 



CHAPTER IX. 



Bottom. "I will discharge it in either your straw-colored beard, your orange- 
;awney beard, your purple-in-grain beard, or your French crown-color beard, 
your perfect yellow." — Midsummer Night's Dream. 

Quince. " In the meantime, I will draw a bill of properties such as our play 
wants." — Idem. 



DRESSING, MAKING- TIP, PROPERTIES, &c. 

One of the multifarious duties to be performed by amateurs is 
the selection of their dresses. And here, again, I must insist 
upon each actor and actress regarding himself or herself not ego- 
tistically, but simply as a part of a whole ; for in theatrical cos- 
tumes color is the most important object demanding attention, 
and it can either be made grateful or distasteful to the eye, in 
proportion to the presence or absence of harmony in its Mendings 
and juxtapositions. To secure a pleasing effect, each actor is not 
to settle for himself in what dress he shall appear, but a commit- 
tee of taste should be appointed to decide upon the colors of the 
costumes to be worn by the whole corps. As an instance of the 
result of a want of care in the selection of colors on the stage, I 
may cite the two Cardinals in Henry YIIL, at one of our New 
York theatres. Wolsey wore a scarlet moire-antique robe, and 
Campeius a scarlet woolen robe of much greater intensity and 
depth of color, so that when the two were side by side on the 
stage, the robe of the former appeared pink, while that of the lat- 
ter was a more intense scarlet. Thus "Wolsey's dress, by not 
presenting the distinctive color of cardinals — scarlet — became 
unmeaning and false. 



34 



AMATEUR'S HAND-BOOK. 



Let then a council of taste be held, the artist being" elected as 
President, so that the prevailing tones of the scenery and the 
dresses may harmonize. As I believe that my readers will find 
warnings of service to them, let me give them another example of 
how an effect may be destroyed by a want of care. Supposing 
the dress of the principal character of a play be scarlet ; it fol- 
lows that, if green is not on the stage in the dresses of others of 
the performers, the eye, upon being withdrawn from the scarlet, 
will see every other color more or less tinged with green, and 
consequently impaired ; hence it is necessary to juxtapose the 
latter with the former, in order to keep the visual organ in its 
natural state. 

The character of this work will not permit of my treating at 
any length upon the laws of contrasts of color, so that I cannot 
give my reasons for selecting the following, as producing agreeable 
results, but my readers may rest assured that the combinations 
will prove pleasing to the eye. Thus, I recommend red and green 
— blue and orange — yellow and violet — green-blue and red-orange 
— yellow-green and violet-red — blue-violet and orange-yellow. 
These are the most brilliant colors which can be used on the 
stage, and these blendings of them will be found the best, as 
neither color loses any of its tone or brilliancy. Care must, how- 
ever, be taken, that the colors are of equal intensity, so that 
neither shall be weakened by the juxtaposition. In arranging 
colors on the stage, in dress, it is necessary not to place too violent 
contrasts before the audience ; but care should be taken that a 
similarity of shades or tints prevail, in order to insure harmony; 
that is to say, if deep colors be employed in some of the dresses, 
such as deep reds, dark blues, or browns, the rest must not be 
very light greens, or sky blues. " 

In wearing character dresses, consciousness of having on a strange 
costume is a great defect, as it gives to actors the appearance of 
people of the 19th century masquerading in clothes of another 
period ; to avoid this inartistic result, the actors should inure 
themselves to their fancy dresses ; the gentlemen must learn to 
wear swords without endangering their legs, to let their cloaks 
hang gracefully over their shoulders, and to endeavor to walk as 



amateur's bajcd-book. 35 

_3ir boots had been made for them ; -earing of 

y dress should, as far as possible, indicate the character. 
h respect to the dresses, the least troublesome plan of procur- 

:hem will be to a theatrical costumers ; but 

in giving the order, it is necessary that the m i^on 

Tumes of the proper colors and -fashion, and as fr 
looking as possible. -at one estimate she 

cover the whole charge, extras included. The DQSf wiO 

the quality and description of dresses required; those 
which have seen better days, can be hired at a surprisingly low 
figure. If^ on the other hand, it is determined to give a series of 
representations, and it is thought desirable to establish an amateur 
wardrobe, colored merinos, cheap silks, :!:>f::L. frajfoeni, ribbons, 
old cloth: n and altered, will be of immense service, and 

for the more decorative portion- ::" Che dresses, theatrical trim- 
ming shops aell all kinds of sham silver and gold lace, stars, glit- 
tering buttons, and past: a very trifling :::o 
that a wardrobe which is really useful and serviceable, may be 
formed for a very small sum of money. For the style of 
fancy dresses, Lactfs : Plamd&s Series of L 
om,d H-s:. tames will enable 
sufficient precision as to fashion and d 

Making up the face and head is a great point, and fa this pur- 
pose are required wigs, beards, and mpstadbes, r:uge, pearl pow- 
der, and sepia, or Indian ink, I rith a hare's foot or two, 

.he proper applicati::: ge. 

wigs can either be purchased or hire itrical 

perruquier, who will attend on the Bfening •:: :_;- performance, 
and not only fit on the wigs, : : at make n : rs. 

\ ::.:ie ;-::.. must *: : given 
before the performan : e . and "_ 
the period and of the colors required. 

If, ho 1 iga are not needed. fin* the o:epting for 

one or two of the actors, who must find their own, amateurs will 
Lave to make \: their : - e the following 

kjnts for their guidance. I,: ileinthe 

face? :.nd in applying il be careful- 



36 amateur's hand-book. 

ly laid on the skin with a hare's foot, and not be made to look too 
obvious ; it should be placed well under the eyes, as it imparts 
to them a brilliant sparkling appearance ; pearl powder may be 
judiciously applied to the forehead, neck, arms and hands, to 
whiten them. If a comic face be wanted, the rouge should be 
placed on the tip of the nose, or down it in a streak, also laid on 
the cheekbones, or across the forehead. This, however, must not 
be overdone. In removing paint from the skin, it should not be 
washed off, but cold cream rubbed on the face, and then the whole 
wiped off with a dry towel. 

In making up the face of an old man, in a bald wig, the natural 
skin should be colored to match the artificial skin of the wig, as 
nearly as possible. To represent the traces of age, that is to say, 
to give to a young person the appearance of an old one, use sepia, 
or Indian ink, which must be applied with a camel's hair brush. 
It is necessary to deepen, with the brush and sepia, the lines run- 
ning down from the nose, the furrows across the forehead, the 
crow's feet about the eyes, and the lines in the chin; in fact, to 
deepen all the lines in the face. This is a most delicate operation, 
and requires much care in its execution, more especially on a 
small stage, because if the lines are too strongly marked, they 
will look like what they really are — paint. The best plan to 
pursue, is, for an actor, when making up before a glass, to have a 
very strong light about the glass, and in the room, and then re- 
tire from the glass to the distance at which he will be placed on the 
stage from the nearest portion of the audience, which will enable 
him to judge whether he has produced the desired effect. In 
fact, in everything connected with private theatricals it is requi- 
site to conceal the stage trickery, in order to convey as complete 
an idea of reality as is possible, to the audience ; this is very de- 
sirable in the matter of wigs, so that they be made to suit the 
complexions of the wearers, or vice versa. If a sick or emaciated 
appearance is wanted, whiting and sepia are required; the 
natural color of the face should be destroyed, by means of the 
former, while the latter is to be painted under the eyes, to give 
them a sunken look, and also to deepen the lines of the face, to 
add a wan appearance to the performer. 



amateur's hand-book. 37 

For artificial beards and moustaches, made-up ones on wires 
may be bought, to fasten on the ears, or they may be formed of 
crape hair, which is stuck on the face with liquid glue. That 
admirable comedian, Mr. Charles, maintains that he can paint a 
far more effective moustache than any artist in hair can manufac- 
ture. There are many other minor points in connection with dress- 
ing and making-up, which, however, I must leave to the discretion 
or sagacity of amateurs, who will speedily acquire a knowledge of 
them, by experience and observation. 



CHAPTER X. 



" Hold ! prompter, hold ! a word before your nonsense ; 
I'd speak a word or two, to ease my conscience." — Goldsmith. 

THE PROMPTER. 

Nothing can possibly be done in private theatricals without a 
prompter ; he is the rock of confidence to the actors — the stage 
Mentor, whose friendly voice re-assures the weak, and checks the 
impetuous stream of talk of the flighty ; let me then warn my 
readers to be very careful in their selection of this officer — he 
should be a man ever attentive to his business, of much patience 
and much endurance, especially at rehearsals. 

The business of the prompter may be divided into four heads : 
Prompting. 
Entrances. 

Business or Action of the Stage. 
Properties and Scenery. 
The above duties must be well performed, for much depends 
upon them, and the success of the piece may suffer considerably 
by want of care on the part of the prompter • let us then com- 
mence with some hints for the pleasure and profit of this unseen 
official. 

Imprimis, — Mr. Prompter, take your place on the stage at the 
first rehearsal at the l. corner of the proscenium, leaving the first 



38 AMATEUll's HAND-BOOK. 

entrance clear (the l. side is usually the p. s. or prompt side, but 
if the green room is on the right hand of the stage, the r. becomes 
the p. s. of that theatre) ; have a small table before you, and fur- 
nish yourself with pens, ink and paper ; open your book of the 
play, which you have previously carefully perused, and at the 
same time marked with the proper calls, as thus : a length (or 42 
lines) before an entrance, with a pen make a figure on the margin, 
surrounded with a circle, to render it more conspicuous, say 




(1, or the first call, would be at the beginning of the 
piece,) and so progress numerically until the end of the act. 
The second and subsequent acts commencing each with 




as in the first act. Also, prepare a slip of paper, on which the 
figures are endorsed, with other particulars, thus (we will sup- 
pose Little Toddlekins to be the piece) : 

1. 

Susan to begin. ' 

(broom) 
Brownsmith, ready. 
Littlepop, ready to speak off, l. 

2. 
Amanthis. 
Susan. 

3. 

^OMBE,^^^^^ 

4. 

Amanthis. 

Susan, with flowers. 

And so on to the end of the piece. 

This is the entrance plot, which is handed to the call-boy, who 
is the prompter's deputy, and stands near him during the 
play ; and on his calling to him " One," the boy proceeds to find 
Susan, Brownsmith and Littlepop, whom he severally calls 
(usually by their proper names, ) and waits an anstoer from each. 



amateur's hand-book. 39 

that lie may be assured they have noticed him — ne also takes 
each actor the properties marked in his call, and returns rapidly to 
his 'post at the prompter's side; upon the signal " Two," the same 
process is repeated, which is continued until the termination of 
the piece. 

The prompter must also make a list of all the properties or 
articles needed, such as letters, wine, tea equipages, tra} r s of 
provisions, pistols to be fired, hat-boxes, trunks, etc., etc., and he 
must note on the list whether the articles are to be placed on the 
stage, or to be carried on by an actor ; if the latter be the case, he 
must add the name of the performer, and when that person is to 
enter with the property the article must be delivered to the call- 
boy, who will place it in the actor's hands. A specimen of the . 
regular Scene and Property Plot of The Brigand is annexed: 

BKXGAKD. 

PROPERTIES. 

ACT I. 

Scene 1. — Carbine, pistols, stiletto, dice and dice-box, purse and 
whistle for Massaroni ; carbines and pistols for Brigands ; flask with 
wine, and horn at rock, l., for Maria; practicable long staff, with 
gold pieces in it, for Mcoli. 

Scene 2. — Portfolios for Theodore and Albert ; stiletto for Maria. 

Scene 3. — Whips to crack, r. u. e. ; baskets of provisions for female 
peasantry ; money and trinkets for Brigands. 

ACT II. 

Scene 1. — Large easy chair on c. ; morocco case, with brilliants, for 
Prince B. 

Scene 3. — Portrait of female, concealed by red curtain, hanging 
over sliding panel, l. ; card table, l., morocco case, with pair of rich 
bracelets, cards, candelabra with lighted candles, and a guitar on— ^ 
four chairs around table ; on r. a table — cards, candelabra with light- ■ 
ed candles on — chairs ; paintings hung around chamber, three letters 
for Massaroni ; refreshments — wine, etc. , for servants to offer guests ; 
rouleaus of money on tables ; jeweled snuff-box for Count Carrafa ; 
Theodore's sketch-book, with crayon sketch of Massaroni for Ottavia ; 
miniature case for Massaroni ; eight guns for soldiers, four sure fire ; 
blood ready at 1 e. l. for Massaroni ; crucifix for Maria. 



40 



AMATEUR'S HAND-BOOK. 



BRIGAND. 



Wood. 



Wood. 



Garden. 
Hall. 
Fancy. 



ACT I. 

Horizon (mist, which clears away after first 
chorus) ir 

Rocks, set r. and l., intermingled with 
trees and shrubs, in 3d and 4th en- 
trances. Large oak tree on brink 
of precipice, set c. ; branches of tree 
stretching over an abyss, r. ; frag- 
ments of rock under tree, c. ; piece 
of slate sunk in bank, c. 

[Note. — This scene should be a very ef- 
fective one, if properly set, and is entirely 
dependent for its effect upon the taste of 
the Stage Manager and his assistants, com- 
bined with the size of the stage and the 
resources of the theater as regards scenery, 
&c. , &c. Managers are referred to No. 1 
of Eastlake's series of pictures, viz. : "The 
Italian Brigand Chief Reposing, 17 &c, 
for the situations of the characters at ri- 
sing of curtain, and to No. 2 of the same 
series, "The Wife of a Brigand Chief 
loatching the result of a Battle, " &c.,for 
the close of a scene. — Ed. 

Ruins of a Roman temple and distant 
country in 

Same as Scene First in 



ACT II. 

Terrace. in 

Corridor. in 

Handsome apartment; folding doors, 
c. E. ; windows down to floor each 
side of folding doors ; sliding panel, 
l. ; further up l. a window a few feet 
from the ground with heavy bars ; 
two doors, r. ; all the doors and win- 
dows to fasten. in 
Backed by garden. in 



It is necessary for the prompter also to make, or to see that 
the properties are exactly what they should be, in appearance 



All J. - \D-EOOK. 

and order. Thus, if a 1 nted, lie should fold one np 

ready ; if a pistol is to be tired, he should not only procure that 
weapon, but place ■ d cap on it (it will be found that 

the report caused by a cap will be quite loud enough for pr: 
theatricals), and ail similar du: rm. 

doors 

-^e. ringing beils, firi: _ : J the thunder, 

lightning, and rain, tramping for crowds, shrieking for horrified 

;;-.:";.;;. :m.T...::i::_: : ; ;::$: ^:o:;:f 1 :::iir:i5. ::; >l::r:. ?•:.-■:::: : ;■ 

all business of _e prompter is a most respon- 

person in private theatricals — the great star of 

official, in his produce of prompter, proper, should care- 
fully foil the play, reading to himself n 

:rt an actor is at a loss, let him read out, and km 
but disti:; the needed words, and two or three follow- 

Ind at rehearsal that the promp: 
always ready to assist them, they will act with greater con- 
Udence, and really stand in little need of his assistance. He 
. not be too hurried m his prompting, but allow 
rime for business and act±_:. 

me, in conclusion, advise the pron- uss k 

study the ehnr. as ftbeactOEE k : study :_eir parts. 7 
Ids he will find it of the most essential service. It will 
_im to see that some performers are quick, and only require 
^e nervous, and want almost 
prompting; whilst others, again, are slow, and need, perhaps, 
half a sentence to enable them to proceed with their parts 
the prompter follows this advice, he will find his own work I:_ 
ened, and at the same time he will be taking a w the 

shoulders of others. 



42 



AMATEUR'S HAND-BOOK. 



CHAPTER XL 



iuiNCE.— " Come, sit down every mother's son, and rehearse your parts. " 

Shakespeare. 
Puff.— ""Well, pretty well— but not quite perfect. So, ladies and gentlemen, 
you please, we'll rehearse this piece again to-morrow. " 

Sheridan. 



REHEARSALS. 

The rehearsals are called as follows : a notice in the annexed 
form is affixed to the walls of your temporary green room, or sent 
to the different members of the company. 



O.A.LL. 




Monday, 3d September, 


1866. 


5 o'clock. 




"NOT A BAD J 


UDGE." 


At — 122 Nassau Street. 


C. 


Sharp, 


\ 


Stage Manager. 



You read this notice, ladies and gentlemen, and let us hope that 
at the time appointed (ten minutes' grace is allowed for the dif- 
ference of clocks,) we shall have the pleasure of seeing you; some 
very nervous ; a great many asserting that they shall never be 
able to get through, and all declaring that they do not know a 
single word of their parts. The manager appears very important, 
and apparently highly charged with business for prompter, scene 
painter, scene shifters, and everybody concerned. The prompter 
settles into his place in the corner — it is a quarter to five, and 
the two principal actors 'have not made their appearance. Listen! 
a knock ! welcome ! welcome ! — the missing ones arrive. Now 
" Clear, clear, ladies and gentlemen, if you please. Do clear the 



amateur's hand-book. 43 

stage. Thank you, sir, you have just placed yourself in the way. 
Now, Mr. Trelawny, we are quite ready," and off we go. 

Certainly our progress is not rapid ; every entrance, every exit, 
has to be arranged — all the dialogue has to be gone over, possibly 
two or three times. You find that the action } r ou have prided 
yourself on, or the delivery you thought so good, will not do ; 
your arms are unmanageable, your legs are perverse, you run up 
against each other, you turn away from the audience, your 
speeches fall flat — in fact, at a first rehearsal, everything appears 
to go wrong. At last, something like order is established, and 
the piece in the end begins to assume a definite form, while the 
manager, understanding the deficiencies and excellencies of his 
company, will take care at future rehearsals to eradicate errors, 
and make the actors work well together. 

For the peices I have chosen, I should recommend at least six 
or eight rehearsals, in addition to private ones between the 
principal actors, so that all may be perfect in their parts, and I 
particularly advise that the last rehearsal should be a dress one, 
as it not only accustoms the actors to their dresses, but also to 
each other in their strange costumes. 



CHAPTER XII. 



Puff.— " Now, you know there mil be a cry of down ! down! Hats off! Silence!" 

Sheridan. 



THE AUDIENCE. 

It is but a step from all the noise, bustle and confusion of 
behind the scenes, to the quiet of before the curtain, where I find 
the audience sitting in expectation of the play ; and before that 
commences, let me address a word or two to the well-dressed 
individuals around me. Remember, ladies and gentlemen com- 
posing the audience, you have your duties to perform, your parts 
to play. Be it your care to extinguish in your mind all hyper- 
criticism ; do not expect too much of your friends — ever bear in 



44 . amateur's hand-book. 

mind they are amateurs, who are about to hold the mirror up to 
nature; therefore, be careful not to sully the glass with the 
breath of ill-nature. Cheer the laborers on with well-timed 
applause, and as their intent is to amuse, contentedly accept what 
is offered, and neither condemn nor despise because you have here- 
tofore received a richer gift at other hands. 

Nothing can be more killing than a dull audience ; therefore, 
oh, audience, wreathe your faces in smiles when the intent is to 
raise pleasant laughter, and make the house exceeding merry with 
the cheerful music of your applauding hands. 



Many persons having a great desire to get up private theatri- 
cals are often prevented from so doing, from not being able to 
purchase or hire the necessary properties, costumes, wigs, &c, 
required to produce them in a proper manner ; and all this arises 
from not knowing the places of business of the various Theatrical 
Tradesmen, who, as a general thing, do not advertise their goods, 
as merchants in other professions do, but content themselves 
with being found and patronised by regular actors and actresses, 
and totally ignore the general public, who very often require 
both their goods and services. 

Our agent has prevailed on all the principal theatrical trades- 
men to insert advertisements setting forth their business, wares, 
&c, in the concluding pages of this work, and we would advise 
our readers to carefully peruse them, and select those who will 
supply their wants. All of them being long and favorably known 
in their several departments of trade, we confidently recommend 
them, and assure our readers they will be dealt with liberally 

and honestly. 

Properties, Masks, &o. 
R. Cutler, Barnum's Museum, New York. 
John G. Williams, Old Bowery Theatre, New York. 

Theatrical Hosiery and Tights. 
Vanderlip & Taylor, 96 Bowery, New York. 
R. B. Kent (late Gamer's,) 202 Bowery, New York. 



ok. 45 

-ieigal Goods, L 
Shannon & Miller. 52 Mai d rk. 

Horstniari E li _n, 8 Maiden L.. 

^eymour, 1 " _ York. 

1 rk. 
W. J. 

Bo*:: 

Richard Bamton. nd 293 Bowery. I 

Paul De Spotte, 15 W Yrk. 

Tork. 

Corm rk. 

Frank Ei . . ision Str>: e 

iter of Da: 
Geo. W. Charles, Hooley^s Opera House, Brooklyn. H. Y. 

1 TTTHBITflT Y - 

Y Peterschen, Howard Athenaeum, Boston, Mass. 

W. Thompson, New Bowery Theatre . Y. Y. 

Horace Waters & Son, 481 Broad" York. 

Prismatic L::-zt=. 
ilson, Banram's Muse m Y :>rk. 

J:ser.L S-inirrs. 17 / 1 :—-y;- Y-.-I :!: 
Books, Picture 
L Boorbach. 1__ rk. 



It yon will listen to me for half an hour, I will show you how 

_ t rim a doll : .e in a melancholy 

moping state of ennui, into as: palace of amusement 

and fun. And surely, all will con- i transformati«i worth 

makic- r5 been boxed up in the country. 



46 amateur's hand-book. 

and attacked with that hypochondriac disease, nothing to do ? 
What a dreadful state of mind occurs in such cases ; unsatisfactory 
to all, excepting to the enemy of mankind, who is doubtless de- 
lighted at the growing feeling that is created, destructive of 
the order of peace and good- will to all men. 

I am not going to argue the case whether theatricals are hurt- 
ful to mankind, because such an idea has exploded long since, ex- 
cepting amongst ignorant or superstitious people ; I shall merely 
give a few instructions to American ladies and gentlemen how to 
amuse themselves in a dull country house, and if they abuse the 
instructions, all that can be said is, that they are not what I took 
them for — American ladies and gentlemen. 

The first question : How can a theatrical company be formed ? 
Now, nothing can be easier. Mind, I am not writing instructions 
for any extraordinary talent — for a juvenile Forrest, or an incipi- 
ent Miss Cushman ; but for ordinary ladies and gentlemen who 
live in, or visit at, country houses. 

Why, with one actor, or actress, a company may be formed. 
A company of one would be rather a bull, however — the one actor 
must act a monologue, as a speech from Shakespeare, the " Chap- 
ter on Noses," the lines on "Nothing to Wear," one of the 
" Ingoldsby Legends," a ballad of Bon Gaultier's, or a more finish- 
ed affair, like the entertainments of Charles Mathews, the late 
Albert Smith, Arthur Sketchley, and others. 

With two to assist, all will necessarily be better ; especially if 
one of the two be a lady. In such a case, scenes can not only be 
performed, but also complete plays; for instance, "A Morning 
Call," " Love and Rain," or " Personation." With three persons 
a selection of pieces becomes easier still. " A Silent Woman," 
" Which shall I Marry ?" and the dreadfully hackneyed " Box and 
Cox " always go well in country houses. 

The old-fashioned, easy, yet perpetually laughter-creating and 
successful " Bombastes Furioso " is a sample of plays for four 
characters. 

As the number of the company increases, so, also, is it easier to 
find complete plays to suit them. Therefore, there is no difficulty 
in forming a company. " Where there is a will, there is a way." 



amateur's hand-book. 47 

Neither is there more trouble in making a stage. Many persons 
think that the room must be nearly pulled down, the walls pierced 
to receive wooden frame? for the scenes., and devastation to a 
greater or less extent produced. Xow, although a good planked 
stage is very comfortable for the actors, and raised seats better 
for the audience, these things are not really necessary. I would 
fit up a room for Theatricals, without any further damages than 
placing two large, handsome gilt-headed nails in the walls to sup- 
port the curtain, and even these nails may be done without in 
many instances, by attaching the curtains to curtain-poles, etc. 

So many plays contain but one scene, and that a drawing-room 
one, that ordinary furniture may be used ; and in cases where 
more is necessary, the old-fashioned method in use in Shakes- 
peare's time, of pinning a placard to the curtain, as, i; THIS IS 
A STREET IX VENICE," may be resorted to. I do not say 
that I should advise doing without proper scenes when they can 
be arranged in any way, but am now merely showing how some 
obstacles are no obstacles at all. 

The formation of dresses for Theatricals is only a pleasant oc- 
cupation for the ladies, who, as a general rule, are not lazy when 
there is anything for them to do ; and gentlemen, likewise, will 
have some excitement in thinking whether their calves are fit for 
exposure to the gaze of the multitude, in pink stockings, or how 
they will look in iron-gray or white wigs. The opportunity of 
showing themselves off in fancy dresses will be a great induce- 
ment for ladies to get up Private Theatricals. Ladies, pray for- 
give me, the idea is not my own — I borrowed it from a poet, who 

said, 

{i When ladies are both young and fair, 
They Lave the gift to lmov""i: V : 

And the manager of the Theatricals should act upon this idea, 
and choose what are called " dressy pieces. 5 ' A play, in the eye 
of an actor, is merely an animated picture, and picturesque 
dresses and correct grouping are essential to success. 

Most ;: dressy plays ; * are those of the time of Louis XIY. and 
Charles II., when wigs and pink silk stockings were the order of 
the day. Ladies in patches look well, and the dress of gentle- 



48 amateur's hand-book. 

men of that period is pretty, but there is one drawback — gentle- 
men who wear powder or long wigs must shave. Fancy " old 
Rowley " with a beard. But there are other dressy pieces — mili- 
tary plays, parlor pantomimes, and pastoral comedies, farces and 
burlesques. " Bombastes " is a dressy piece, and being a burlesque, 
the beard might be worn ; but all actors should have clean faces 
as a rule; expression is more visible to the audience when a 
man is shaved. The costume of Disiafina is pretty, and makes a 
young lady very fascinating. The music, too, in this play, is easy 
and jolly. 

Too much pains cannot be taken in what is called " casting the 
pieces," or making such an arrangement of the forces under your 
command that no power be lost ; making the most of good actors 
and actresses, and giving bad ones little or nothing to do. In the 
same way that you play at whist, when you never throw away a 
trump if a small card will answer the purpose. One of your first 
operations, therefore, will be to find out which are your trump 
cards — who have acted before, and who have not. Amongst 
those who have acted, you must now discover what they are 
" strong " in ; what kinds of character they are equal to. Amongst 
those who have not previously performed, you must find out if 
any are likely to turn out actors. Do not have too ^nany ladies 
performing. A preponderance of fair beauties is an embarass de 
riches; like a bouquet all roses, which you know would be improved 
by a profuse addition of green leaves. Two or three gentlemen 
to one lady is a good division of the sexes on the stage. 

In arranging your company it will be as well to have in your 
mind's eye the ordinary classification of professional actors, as by 
so doing, you will not only find it easier to cast plays, but it will 
also assist each person in discovering what they are fit for, and 
call attention to the philosopher's fundamental maxim : " Know 
thyself!" 



amateur's hand-book. 49 

&tes$xfttniion jof a^ompartij. 

NOX-ACTORS. 



Acting and Stage 

Treasurer, 

Property-Man, 


Manager, 


Prompter, 

Leader of Orchestra. 




ACTORS. 




Men 


Tragedians, 
Light Comedians, 
Low Comedians, 




Walking Gentlemen, 

Old Men, 

Servants, Soldiers, eta 



Women. 

Tragedians, Singing Chambermaids, 

First or High Comedians, Old Women, 

Walking Ladies, Servants, Peasants, etc. 

With professionals, the divisions of parts is sometimes greater 
than this ; but I have named enough for amateurs. I will give a 
few remarks regarding each of these. 

The Manager should have the entire arrangement of every- 
thing, on and off the stage. If possible, he should have a good 
knowledge of stage business, but should never act himself, because 
he will have but little time to attend to both affairs ; and to pre- 
vent favoritism in casting the pieces. If the master of the house, 
so much the better ; his orders are sure to be obeyed. 

Treasurer. — This gentleman should be a steady, old non-actor, 
who can see to all payments. 

Property-Man. — It is best to employ a tradesman for this office 
— a handy carpenter for instance. It is the property-man's busi- 
ness to provide all the furniture of the stage, from tables to 
paper pies. He should look after the scenes, unless you can spare 
a gentleman as scene-painter. 

Prompter. — This is a most ungracious part, and should be under- 
taken by a non-actor. 

The Tragedian must be the Macready of the party, and ought 
to be an experienced actor. He will find but little to do if entire 
plays are performed, as but few will give him a suitable character, 
excepting long five-act tragedies, which are simply impossible with 



50 amateur's hand-book. 

amateurs. If scenes only are played, Mr. Tragedian will have 
many opportunities. The choice should be from Bulwer's or 
Sheridan Knowles' plays, rather than from hackneyed Shakes- 
peare. But there is a lower style of acting for the tragedian — 
melodrama. This is much easier and more effective. Scenes of 
this kind will be found in plays of the "blood and thunder" 
school; such as " The Wreck Ashore," " The Bent Day," "Luke 
the Laborer," etc. 

The Light Comedian is easily suited, either in entire plays or 
scenes. " Used Up," " A Wonderful Woman," " Intrigue," 
"Raising the Wind," "Morning Call," "Delicate Ground," 
"Trying It On," etc., etc. 

For the Loio Comedian, there is a very wide range of parts ; 
nearly all farces are written for a low comedian. So he may 
choose out of all those by Morton, Selby, Stirling, Coyne, etc. 
The country plow-boys and eccentric parts in old comedies, such 
as Dr. Pangloss in " The Heir-at-Law," as well as Frenchmen, 
Dutchmen, etc., fall to the lot of the low comedian. 

Walking Gentlemen are in great request in farces, being in 
general those parts which the light comedian refuses, as not be- 
ing good enough for him. 

Old Men. — Amateurs do not like playing old men. It runs 
against their vanity to appear old before their time. However, 
some good-natured individuals must be persuaded to assist, by 
performing elderly parts. There is nothing that " tells " better 
with an audience, than the characters of " old men," if anything 
like respectably performed. But few plays are written for old 
men; but there are some. " Grandfather Whitehead " is one of 
the best. 

A Lady Tragedian can rarely be suited in an entire piece, but 
in scenes from Sheridan Knowles' and Bulwer's plays she can 
have many opportunities. " A Curious Case," and " Time Tries 
All," will give her and the male tragedian a small opening for the 
display of their powers. 

The Lady Comedian has a better chance. Nearly all comic 
dramas have a character of this sort. Constance, in " The Love 
Chase," and Lady, Gay Spanker, are specimens from five-act plays 



AMATEUR'S HAND-BOOK. 51 

of this kind. Mrs. Chilllngton, in "A Morning Call," Pauline, in 
"Delicate Ground," are examples from short comedies. 

The Soubrette or Chambermaid. — Mrs. John Wood's parts are of 
this kind. They may be found ad libitum in farces, as Betsy 
Baker; Chintz, in "The Unfinished Gentleman 3" Margery, in 
"The Rough Diamond; Fanny Fact, in "Time Tries All," etc. 
Many admirable parts were written for Madame Vestris. Ger- 
trude, in "The Loan of a Lover;" and Lisette, in "Swiss Cot- 
tage." Ellen, in "The Intrigue;" Distaffina, in "Bombastes 
Furioso ;" and many of the modern burlesques contain parts of 
this kind. 

Old Women. — No plays are written expressly for old women ; 
in fact, they are treated with as little respect on the stage, as off; 
and yet they cannot be done without, in either place. There is 
nothing to be said about them, excepting that they are wanted, 
and must be found. 

I will now give you a description of a few scenes for selection^ 
with the style of the characters, so that it may at once be seen 
which will suit best. It is needless for me to say that all the plays 
I mention may be obtained through any respectable bookseller. 



j&kcfoir Sanes fax %\mimx&. 



A WORD TOURNAMENT. 

FROM 

"A MOENING CALL." 
Dramatis Personce. 
Sir Edward Ardent (Light Comedian). 
Mrs. Chillis gton (Lady Comedian). 

Commence page 4, from— "Mrs. C. So, my gentleman, I am to surrender in 
less than a week," to page 10 — "Sir E. There will come a day of reckoning." 

This scene is a quiet piece of " chaff" between Sir Edward 
Ardent and Mrs. Chillington, in consequence of Sir Edward 
having made a bet that he would woo and win the widow, Mrs. 
C, within a week, and the knowledge of the bet having come 
to the lady's ears. 



52 amateur's hand-book. 

TOM TACT AND FANNY FACT. 

FROM 

"TIME TRIES ALL " 

Dramatis Persona. 
Tom Tact (Low Comedian). 
Fanny Fact (Chambermaid). 
Commencing Act 1, Scene 1, page 9, from— "Enter Tom Tact d. l. c." to page 
10 — "The other in the savings' bank." 

This is an amusing little conversation which takes place be- 
tween the couple at their first interview. Tom has doubts about 
the expense of a sweetheart. 

THE RIVALS 5 STRUGGLE. 

A TABLEAU FROM 

"THE WRECK ASHORE." 
Dramatis Personce. 
Walter Barnard (A Tragedian— virtuous). 
Miles Bertram \A Tragedian — villainous). 
Jemmy Starling (Low Comedian— Plow-Boy). 
Commence in Scene 1, Act 1, page 12, from — " A gun is fired at l. u. e., to page 
14— (" darting a look of fury at Walter.") 

This is a sensation scene, and requires some little practice. 
When well managed, it is very effective. It is the meeting of 
the two rivals, when the villainous one forces the virtuous one 
into a quarrel, and taking an unfair advantage, is about to mur- 
der young Virtuous with a hatchet, when he is rescued by the 
opportune arrival of Jemmy Starling. 

A YOUNG LADY WITHOUT ACCOMPLISHMENTS. 

FROM 

"PERFECTION." 
Dramatis Personal. 
Charles Paragon (Light Comedian). 
Kate O'Brien (Lady Comedian). 
Susan (Chambermaid). 
Commence from Scene 4, page 17— " Servant shows in Charles and exit r." to 
page 21— "to a fraction of a woman." 

Charles Paragon, who has insisted that his wife shall have 
every perfection, falls in love with his father's ward, who says 
she is without accomplishments. He proposes, nevertheless, and 
then discovers she has a cork leg ! 

THE DREGS OF POVERTY. 

FROM 

"THE RENT BAY." 
Dramatis Personce. 
Martin Heywood (Tragedian). 
Rachel Heywood (Lady Tragedian). 



amateur's hand-book. 53 

Commence from the opening of Scene 3, Act 1, to— "and leave this place for- 
ever." 

This is a severe little bit of melodrama for actor and actress. 

Martin is on the eve of being turned out of the home of his 

fathers on " Rent Day.* 5 He is nearly mad with despair, and his 

wife tries to soften his anguish. 

IMPROPER LOVE-MAKING. 

FEOM 

"BETSY BAKER." 
Dramatis Personal. 
Mb. Marmaduke Mouser (Low Comedian). 
Mr. Crummy (Light Comedian or Walking Gentleman). 
Betsy Baker (Chambermaid). 
Commence from page 6, from — *'Crum. Too attentive by half," &c, to page 
13, ending — " Too late from Mrs. Major-General Jones." 

This scene.is glorious fun. Crummy pays Betsy to make love 
to Mouser ; she carries it so far, that Mouser absolutely makes 
love to her. 

THE QUARREL SCENE. 

FROM 

"THE HUNCHBACK." 

Dramatis Persona?. 
Master Walter (Tragedian). 
Sir Thomas Clifford (Tragedian). 
Master Wilford ) 

&££? \ (diking Gentlemen). 

HOLDWELL ) 

The whole of Scene 1, Act 1. 

Master Walter, the " Hunchback," is insulted by Master 
Wilford and his friends. Clifford will not let Master 
Walter fight, and he is at first very angry with Clifford, but 
afterwards is pleased with him. 

FASCINATION. 

FROM 

"THE VICTOR VANQUISHED." 
Dramatis Persona. 
Charles XII. (played by Tragedian or Old Man). 
Baron de Gortz (played by Low Comedian or by Old Man). 
Ink a (Lady Comedian). 
Commence from page 13— "Charles. I have been fooling," &c. to page 19, at 
Bottom — " A life of far more value than my own." 

The plot of the scene is, that Inka plays her powers of fascina- 
tion upon Charles XIL, to induce him to sign the pardon of 
her lover. The character of Inka is a very favorite one with 
ladies. It is a charming little part, and the dress very picturesque. 



54 ^"^- amateur's hand-book. 

TIRED OF THE WORLD. 

FROM 

"THE BLIGHTED BEING." 

Dramatis Personaz. 
Job "Wort (Low Comedian). 
Ned Spanker (Light Comedian) . 
Commence from page 7— "Spanker goes up to table bij r," &c, and ending 
page 10 — " Can you trifle thus with a misery like mine ?" 

The fun of this scene is the ludicrousness of Job Wort, who 
fancies he is tired of. the world. The liveliness of Ned is a cap- 
ital foil for him. 

THE TIGER AND THE MAID. 

FROM 

"THE UNFINISHED GENTLEMAN." 
Dramatis Personos. 
Jem Miller (Low Comedian). 
Chintz (Chambermaid). 
The whole of Scene 1. 
This is a nice little scene, that requires quiet acting, and 
always goes well. It is nothing more than an ordinary meeting 
of lovers, who have a partiality for the use of such words as 
" valetudinarious and hoppycondropical." 



These are a few scenes which will give you an idea how selec- 
tions should be made. It would be no trouble to me to take 
five hundred extracts of the same kind, but this is not the place 
to do so. 

I will now give you a classification of a few entire plays, with 
an account of their character, so that it will be at once seen 
whether they are fit for the strength of the Drawing-Room The- 
atrical Company. 



Q 3&»t oi pngs far grafei«g-|lam« lUprmniatfon:. 

TWO CHARACTERS EACH. 

TWO IN THE MORNING. 

Contains one low comedian and one light comedian. Only one 
scene — a bed-room. A very easy play. 

No. 1, ROUND THE CORNER. 

Eor one low comedian and one light comedian. One scene — 
a modern room. An easy play. 



JLMATEUR ? S HAND-BOOK. 55 

CONJUGAL LESSON. 
One low comedian and a eharuberm aid's pai\. This is a bed- 
room scene, and might in some houses be objected to. 
MORNING CALL. 
A most elegant little play, all enacted in a fashionable drawing- 
room. It is merely a long u chaffy' conversation between a lady 
and a gentleman. It requires rather good acting to make it ;; go :? 
briskly. 
A LADY AND A GENTLEMAN IN A PECULIARLY 

PERPLEXING PREDICAMENT. 
The two characters, a low comedian and a chambermaid (by 
the use of the word chambermaid, I do not mean that the charac- 
ter is that of a chambermaid, but that it is played by the lady 
who is engaged in professional theatres to play chambermaid's or 
female low comedy part) are obliged to occupy the same room in 
an inn. This play might be objected to in some country houses. 
A MOST UNWARRANTABLE INTRUSION. 
Two low comedy characters, one of which should be a fat old 
man. Scene — a merchant's drawing-room. 
LOVE AND RAIN. 
An effective little modern comedv for a ladv and srentleraan. 



THREE CHAEACTEES. 
BOX AND COX. 
Two low comedians and one old woman. One scene — a lodg- 
ing house bed-room. Play very easy, but requires two very good 
low comedians to balance the want of novelty, as it is so well 
known. 

A SILENT TTOMAN. 

A capital little piece for an elderly gentleman, a young one, 
and a ladv 

DELICATE GROUND. 

A light comedian, a walking gentleman, and a lady light co- 

lian. This is one of the best plays that can be performed in a 

drawing-room. The scene is easily managed, and the costumes 

very pretty. Time — French Republic. Citizen Sang Froid 



5G amateur's hand-book. 

and Pauline require good acting. The other man, Alphonse, is 
a silly fool : a very ungracious part. 

WHICH SHALL I MARRY? 
A good little piece for two comedians and a soubrette, Dut must 
have a set scene. 

THE VICTOR VANQUISHED. 
Two characters, which may be played by any two, cither 
tragedian, light comedian, old man, or low comedian. The lady, 
too, Ikla, may be either given to a lady comedian or chamber- 
maid. A capital drawing-room play ; very dressy. 
SENT TO THE TOWER. 
A dress farce for three males. 

TAMING A TIGER. 
An excellent farce for an irascible old man, a vivacious young 
gentleman, and a smart servant. 

ANGEL OF THE ATTIC. 
~ tragedian, a low comedian, and a lady tragedian. One scene 
— an attic. Dresses — time of the Revolution in France. This is 
a rather serious little play. 



FOUR CHARACTERS. 
BETSY BAKER. 
A low comedian, a light comedian, a chambermaid, and a lady 
comedian. This is a capital fares. One scene : a drawing-room. 
Mouser and Betsy Baker are very favorite characters. 
BOMBASTES FURIOSO. 
Three singing low comedians and one singing chambermaid. 
Dresses very fine, grand, and funny. Scenery changes rather 
frequently, so it is difficult, although there are no set scenes re- 
quired. A capital play, but has the fault of being hackneyed 
THE INTRIGUE. 
Two light comedians, one low comedian with songs, and one 
singing chambermaid. Scenery easy. Period — fifty years since. 
VILLIKENS AND HIS DINAH. 
Three iow comedians with songs, and one singing chambermaid. 
This is a burlesque. Scenery easy. Dresses, gorgeous and ad 
libitum. 



amateur's hand-book. 57 

ONLY A HALF-PEXXY. 
An old man, a low comedian, a lady comedian, and a chamber- 
maid. This is a modern farce, depending upon the exertions of 
the low comedian. Scene easy. 



FIVE CHARACTERS. 
OUR WIFE. 
A tragedian, althougn not a serious character, a light or low 
comedian, and an old man. Two ladies ; one must be very pretty 
and fascinating, and the other her plainer sister. One scene 
rather troublesome to manage. Dresses very showy and pretty. 
An excellent drawing-room play. 

THE SEXTIXEL. 
A tragedian, but not a tragic part, a light comedian, an old 
man, a low comedian who sings, and a capital singing part for a 
lady. Scenery rather troublesome. Soldiers required in the 
play, which gives it a pretty look. 

A CURIOUS CASE. 
One tragedian, one light comedian, two walking gentlemen, 
and one lady tragedian. This is a rather serious little drama. 
Scenery easy : modern drawing-room. 

A BLIGHTED BEIXG. 
Two low comedians, a light comedian, an Irishman, and cham- 
bermaid. Scenery easy : one modern room. 

CAPTAIX OF THE "WATCH. 
One light comedian, one walking gentleman, one old man, a 
lady comedian, and a chambermaid. This is a pretty little comic 
drama ; but the scenery is rather difficult. 
SWISS SWAIXS. 
A light comedian with tenor songs, a low comedian, also with 
songs, an old man, an old woman, and a singing chambermaid. 
A capital little comedy, very suitable when singing parts are re- 
quired. Dresses pretty ; a set scene, rather difficult for a draw- 
ing-room. 

AS LIKE AS TWO PEAS. 
Two low comedians, one walking gentleman, and two chamber- 
maids. A very good modern farce. Scenery easy. 



58 AMATEUR 5 S HAND-BOOK. 

DONE ON BOTH SIDES. 
One old man, one light comedian, one low comedian, one old 
woman, and one chambermaid. A capital farce. All the char- 
acters are good ; it was written for Charles Mathews, Buckstone, 
and Frank Mathews. Scene : a modern small parlor. 
THE SPITALFIELDS WEAVER. 
A tragedian, a low comedian, a light comedian, a walking gen- 
tleman, and a lady tragedian. A very easy burletta. There is a 
ball-room scene, which could be better managed in a large coun- 
try house than on the stage. 

WHITEBAIT AT GREENWICH. 
One low comedian, one old man, one light comedian, one old wo- 
man, and one chambermaid. A capital modern farce : scenery easy. 
COOL AS A CUCUMBER. 
A light comedian, an old man, a walking gentleman, a lady co- 
median, and a-- chambermaid. A capital little farce. Scene — a 
modern drawing-room. 

DID YOU EVER SEND YOUR WIFE TO CAMBERWELL? 
A low comedian, an old man, two chambermaids, and one old 
woman. A very rattling, easy, modern farce. 
AN AFFAIR OF HONOR. 
A good laughable piece for three gentlemen and two ladies. 



SIX CHAEACTERS. 
THE JACOBITE. 
One tragedian, but not a very tragic part, one light comedian 
or walking gentleman, one low comedian, one lady comedian, one 
old woman, and one chambermaid. This is a nice little comic 
drama. Time, George II. Scenery rather difficult. 
A LOAN OF A LOYER. 
One walking gentleman, one singing low comedian, two old 
men, one lady comedian, and a singing chambermaid. This is a 
pretty little drama. Scenery easy, in Holland. Gertrude has 
a picturesque dress. 

A PHENOMENON IN A SMOCK FROCK. 
Two old men, two low comedians, a countryman and good part, 
the other a servant, a lady comedian, and a chambermaid. 



amateur's hand-book. 59 

A WONDERFUL WOMAN. 

Two light comedians, one walking gentleman, one low comedi- 
an, one lady comedian, and one chambermaid. This is a capital 
play. Dresses magnificent — time of Louis XI Y. But the 
scenery is rather difficult. 

NAVAL ENGAGEMENTS. 
Two old men, one light comedian, one Irishman, one old 
woman, and one lady comedian. This is a good little comedy, 
but the scenes require frequently shifting. ■ x 

ANYTHING FOR A CHANGE. 
Two old men, one light comedian, two lady comedians, and one 
chambermaid. This is a capital play for a private house. There 
is but one scene — a modern drawing-room, and the dresses are 
those of the present day. 

TRYING IT ON. 
One light comedian, one walking gentleman, one oia man, one 
old lady, one lady comedian, and one chambermaid. Another 
modern farce, well adapted to the drawing-room. 

A DAUGHTER TO MARRY. 

A good modern farce for four males and two females. 

LITTLE TODDLEKINS. 

One light comedian, one old man, one walking gentleman, one 
lady comedian, and two chambermaids. The fun of this play is 
now-a-days generally increased by giving the part of Am an this, 
" Little Toddlekins," to some stout gentleman who has no beard 
or whiskers, and who is dressed up as a woman, with the most 
outre crinoline, bustle, etc. 

A THUMPING LEGACY. 

One old man, one low comedian, one tragedian made comic, two 
walking gentlemen, and one chambermaid. This is one of the 
best farces ever written. Scenery easy. Dresses pretty. 
JOHN DOBBS. 

One Old man, one light comedian, one low comedian, one walk- 
ing gentleman, and two lady comedians. A capital farce, with 
only one scene — a modern drawing-room. 



60 amateur's hand-book. 

THE TWO BONNYCASTLES. 

One old man, one low comedian, one light comedian, one cham- 
bermaid, and two lady comedians. This is an excellent farce, and 
requires but one modern room. 



The foregoing selections of scenes and plays arc amply sufficient 
to enable the promoter of any theatricals in a country house to 
choose suitable pieces, according to the strength of the company. 

The weight of the play should rest on the best actor. In the 
olden 4imes, pieces were generally equally divided • but now-a- 
days they are written for one individual. 

I will give another arrangement of choice for you. If your 
best actor is a Tragedian, select to play " The Curious Case," 
" The Spitalfields Weaver," or " The Angel of the Attic." 

If a Light Comedian, play either " Two in the Morning," 
" No. 1 Round the Corner," " Morning Call," " Delicate Ground," 
"Our Wife," " The Captain of the Watch," " Cool as a Cucum- 
ber," " A Wonderful Woman," " Anything for a Change," " Try- 
ing it On," or " Little Toddlekins." 

If a Low Comedian, choose for him either " John Dobbs," 
"Betsy Baker," "A Thumping Legacy," "The Jacobite," "Phe- 
nomenon in a Smock Frock," " Whitebait at Greenwich," " Did 
you ever send your Wife to Camberwell ?" " Done on Both Sides," 
" As Like as Two Peas," or "Box and Cox." 

If a Lady Tragedian, there is no good part for her but in " A 
Curious Case," or "An Angel in the Attic." 

For a Lady Comedian, you may select from " A Morning Call," 
" Delicate Ground," " The Victor Vanquished," " Our Wife," 
" Captain of the Watch," or " A Wonderful Woman." 

If a Chambermaid, let it be one of the following: "Betsy 
Baker" or " Little Toddlekins." 

A Singing Chambermaid will find the best parts in " Bom- 
bastes Furioso," " The Sentinel," " The Intrigue," " The Loan of 
a Lover," " Swiss Swains," and in " Villikins and his Dinah." 

When there are several good actors, such a selection must be 
made as to give them all good parts. 

Bather attempt easy scenes and plays than difficult ones, and 



amateur's hand-book. 61 

those that contain but one scene in preference to those that re- 
quire many. Dressy plays also should be preferred to those of 
the present day. 

The aim in lighting a theatre is to have as much glare on the 
stage as possible, and as little as can be done with for the audi- 
ence part of the room. On each side of the wall, in front of the 
curtain, at a distance of about five feet from the level of the 
stage, large lamps should be placed, so as to throw light on the 
faces of the actors. This is especially necessary if footlights are 
used, as they are apt to throw a shade under the eyes of an actor 
if lie approaches them. 

Painting and whiting the face is, of course, necessary ; but it' 
must be done in a less degree than usual on the stage, on account 
of the nearness of the audience. 

The two principal rules for an actor are : First, Be perfect in 
your part ; and Second, Speak out. 

Those who have not played previously should only be allowed 
a small part at first. This, however, cannot always be managed 
in a private house, where the ambitious tyro can revel in Shakes- 
peare's most difficult parts, if he desire it. 

In choosing dresses, greater care should be used in a gentle- 
man's mansion than is usual on the stage, so that there should be 
no such anachronism as actors wearing spectacles before they 
were invented, or silk stockings before the time of Elizabeth. 

Dresses should, of course, be as picturesque as possible ; and, if 
you have an option, always give the principal character to a 
pretty girl, when she evinces talent, and dress her in the most 
attractive way. Do not wait until the last moment before the 
dresses are got ready. 

Always have a " dress rehearsal," with none but actors present, 
prior to the grand night. This " dress rehearsal " cannot be done 
without. It will find out many faults of omission and commis- 
sion, and will often enable an actor to show that he cannot play 
a part, which will give the manager time to take it away from 
him, and give it to some one who will perform it better. 

Have perfect rehearsals without the book. Let the actor 
" take the word from the prompter," rather than read it from his 



62 AMATEUll's HAND-BOOK. 

part. See that the rehearsals are regularly attended. Keep the, 
lazy ones to their work. 

See that the plays are acted slowly. Most amateurs play too 
fast ; they do not give their audience time to hear one sentence 
completed before they start another. Neither do they wait 
until the person addressing them has finished, but off they start, 
and give the answer before the question is quite out of the asker's 
mouth. They run about the stage too much. You cannot get 
amateurs to stand still ; but they must fidget from this side to 
that, perpetually wash their hands in the air, or balance them- 
selves first on one leg and then on the other. 

Make the audience part of the theatre as comfortable as possi- 
ble. If the audience have cold toes, or are perspiring at every 
pore, they will be severe on the performers, and fancy the annoy- 
ances they feel are due to the poor actors. An easy-chair makes 
a looker-on very comfortable, and there is but one fault against it 
— it induces sleep. 

Music should be played, and cups of tea or coffee passed round 
between the acts. 

Clearing away the chairs and benches from the theatre, and 
dancing there after the performance, forms a very pleasant sequel 
to the entertainment. 

In choosing a room for theatricals, the largest, of course, should 
be selected; but there are other considerations also to be attend- 
ed to. At the stage end there should be a door on each side, so 
that actors maybe able, to come on right or left, without crossing 
the stage. Again, the room for the theatre should be near the 
dressing-room, as it will not do to be running all over the house 
for the actors who are keeping the stage waiting. 

Nobody should be allowed behind the scenes excepting actors. 
This rule is difficult to enforce, but it should be strictly adhered 
to, nevertheless. 

As much secrecy as possible should be used regarding the per- 
formance. Keep the audience in the dark until the curtain is 
pulled up. This mystery will cause much supposition, question- 
ing, and excitement, and will enhance the desire to witness the 
entertainment. 



amateur's hand-book. 63 

All the men should wear wigs, taking care to try them on pre- 
viously. There will be no difficulty in obtaining them from Xew 
York by express, &c. ; in fact, it is important that all dresses, as 
well as wigs, should be tried on as early as they can be procured. 

The same painstaking that will be used to "get up Acting 
Charades" would produce first-rate Theatricals. And, besides, 
what is the difference between the two ? If one is sinful so is 
the other ; and yet many families think "Acting Charades" an in- 
nocent amusement, whilst a similar performance under the name 
of " Theatricals " is looked upon as a " deadly sin." Charades, too, 
have the disadvantage of being more difficult, the actor having to 
coin the words as well as the acting. And words so coined can 
hardly be deemed superior to those of Shakespeare, Sheridan, or 
Bulwer Lytton. 

I will now give a few short rules to be rigidly attended to by 
amateur actors. 

1. Be perfect in your part. 

2. Speak up. 

3. Standstill. 

4. Do not speak until the person addressed has finished. 

5. Speak slowly. 

6. Never u rant." 

7. Face the audience. 

8. Be correctly dressed. 

9. Do not attempt too much, either in selecting difficult char- 
acters or plays. 

10. Hire the assistance of a professional actor if difficult plays 
be attempted. 



64 amateur's hand-book. 



[The following will serve as a "basis for the formation of the Regulations of 
any Amateur Association, which may be modified as circumstances require.] 

NEW YORK AMATEUR DRAMATIC AND MUSICAL CLUB. 

IncobpoPvAted January 2, 1866. 



RULES. 

1. Tliat this Glub shall consist of Twenty Acting Members 
(inclusive of the Managers and Secretary, and exclusive of La- 
dies.) 

2. That each Acting Member shall pay an Entrance Fee of $1, 
and a Weekly Subscription of 25 cents. 

3. That Ladies shall become members of the Club on signing 
these rules ; but shall be exempt from all pecuniary matters, ex- 
cept in procuring ordinary modern dresses when required., 

4. Following are the Officers hereby appointed : 

Acting Manager Mr. E. A. Stansbury. 

Stage Manager »« J. B. Wade. 

Hon. Secretary and Treasurer " F. A. Henderson. 

The office of Musical Director to be disposed of at the discre- 
tion of the Managers. 

5. That the Managers shall choose the dramas to be played, 
have the casting of the characters, and likewise the whole man- 
agement of the affairs of the Club entirely under their control. 
The decision to be binding on all Members, whether present or 
not. 

6. That each Officer, whether appointed by these rules or by 
the Managers, shall have the department assigned to him entirely 
under his control. 

7. That Acting Members shall attend each weekly meeting, 
special meeting, and rehearsal. Any Member being unable to 
attend, must give previous notice to the Secretary ; in default of 
so doing he will be fined the sum of 50 cents. 



amateur's HA>sD-EOOK. G5 

S. That the meetings of the Members take place at the ap- 
pointed Club Room at seven, p. m., business commencing punctual- 
ly, at ha Members attending later than the half-hour, 
unless giving previous notice, will be fined 25 cents. Nio Member 
will be pea < bring any friend to any rehearsal or meeting, 
(except with the view of introducing him as a member.) un- 
less by permission of the Managers. 

9. That all the fees, fines and subscriptions go to the funds of 
the Club, to defray its expenses. 

10. That the expenses of each performance shall be borne 
equally amongst the Gentlemen Acting Members, amongst whom 
all profits arising from performances shall be equally shared. 

11. That Acting Mtmbers shall be expected to play the smaller 
parts, in any piece to be played by the Club, at the discretion of 

rers. 

12. That tickets given out for the purpose of sale, shall be ac- 
counted for in writ! og, m the day appointed by the Secretary, 
before the performance takes place, and in the event of any 
tickets so given out not being returned, or satisfactorily accounted 
for, such tickets shall be deemed as sold, and shall be paid for by 
the Member or other person to whom the said tickets shall have 
been given out. 

13. That all Members must procure their own books, and all 
act by those published by Mr.. S. Fnz:::?:. 122 Nassau Street, 
Xew York. When cue-cards are prepared for any piece, they 
only, on all occasions, must be the guide for exits, entrances, 
etc.. where they differ from the book. 

14. That any infringement of these roles shall subject the 
Member so breaking the same to be expelled from the Club, 
either at the decision of the Managers, or by * 

15. T feudl prepare, at the end of each month. 
a Balance Sheet, and present the same to the Club. 

1C>. All Members must sign these ro3 ring: the Club, a 

month's notice being necessary, should any member be desirous 
of leaving the Club. 

IxmxiAxr :d, 1866. 



66 amateur's hand-book. 

POSTAL ARRANGEMENTS. 

All plays are supplied by Mr. French or his Agents, post free. 
If postage stamps or a post order accompany the letter, the com- 
mission will always be executed by return — but it is absolutely 
necessary to remit the amount, as without it no order is desired 
or received. 

Books are always dispatched by return of post — unless unpub- 
lished or out of print, in which case a notice and catalogue will 
be sent, and a new choice of plays can be had, or the money re- 
turned. 

Orders contingent on approval or exchange, are not desired. 

Seldom a day passes without letters being forwarded, urging 
the instantaneous dispatch of some play or plays, without the 
writer giving his or her name or address, and very often wanting 
both. A very brief time should exist between the receipt of the 
order and its despatch — that time is needlessly protracted by the 
diftuseness, vagueness, and illegibility of much of our correspond- 
ence. If the wishes of the Editor could have weight with his 
patrons, he would much like to receive something like the follow- 
ing (with date, title, name, and address changed for those of the 
party sending it, and written plainly) : — 

Sik, Jan. 2, 1866. 

Please to forward — 

Box and Cox \ r^n„ m ^* 

Rivals \ ( - tliles °- f 

No. 1, Parlor Pantomimes j **** or P la ^ 
(Por which 55 cts. is inclosed,) 

To ( Mr. 

(Name) < Mrs. , or 

( Miss 

10 High Street, 
(■Address) Monkstown, 

Ohio. 

g^" Please to Note. 

1. Money, Stamps or Post-Office Order must accompany each request for Books, 
the value sent to be specified. 

2. The directions, address and name, to be as brief and clear as possible, and 
plainly written. 

3. There is no charge for Postage. 

4. No book can be exchanged. 

5. Not to conclude that every play is printed ; the proportion truly being— one 
printed, for 200 not. 

6. All letters requiring an answer must contain a stamp for return postage, 
or it will not be noticed. 



amateur's hand-book. 67 

[From the Pall Mali Gazette, February, 18C6.] 

" Eve:* since my first appearance on any stage, I have always 
agreed with M. de Castellane that ■ De tous les plaisirs ou le 
coeur n'y entre pour rien jour, la comedie est lc premier ; J and so 
it always is when one docs it for its own sake and to entertain 
one's audience. It is sad that London and its environs, cither 
from pride, or fashion, or something or other, are always de- 
prived of this amusement." So writes Miss Berry, in 1837. 
Had she lived to complete her century, instead of being prema- 
turely cut off in her ninetieth year, she would have seen the sub- 
ject of her regret removed, for certainly, of late years, London 
and its environs have had no reason to complain of being deprived 
of what amusement is to be got out of private theatricals. Con- 
sidering that few plays can be enacted, as in the schools of St. 
Cyr, by women alone, that men in London are generally fully 
occupied, and that the representation of the simplest little piece 
demands a considerable amount of preparation and rehearsal, it 
is rather surprising that amateur plays are so frequent than that 
they are so rare. Agreeing, as we do, with Miss Berry and her 
French friend, as to the pleasantness of the pastime, and observ- 
ing a growing taste for it, we have often wished it might be 
pursued in a more artistic spirit, we will not say a more pains- 
taking spirit, for a great deal of pains is really often taken in 
getting up these entertainments, though not always as well be- 
stowed as it might be. 

The study of histrionic art might be quite as beneficial to the 
youth of England, as that of any of the ordinary routine of ac- 
complishments. It would teach them two things in which they 
are too often deficient : to speak their own language properly, 
not hissing it through their teeth, or snuffling, and swallowing half 
their words ; and to stand and move with ease. It might also 
assist in dispelling some of that troublesome self-consciousness, 
arising more from vanity than modesty, which is well named 
mauvaise lionte, and which renders some shy, others impudent, 
but makes all who are afflicted by it awkward. But at present 
the amateur actor, much as he seems to enjoy the practice of the 



Oo - AMATEUR'S 2TANIKBOOK. 

art, can hardly be said to study it at all ; the utmost he does 
generally is to study some artist Instead of setting-to to get a 
full comprehension of the intention of his author, and form a 
clear conception of the character he has to play, he goes to see 
how So-and-so does it at the Haymarket or the Adelphi, and 
copies it as closely as he can, often successfully enough. But it 
is after all but a copy of a copy. We have known a whole corps 
of dramatic amateurs put themselves under the guidance of some 
accomplished master of the profession, not to be taught his art, 
but to be crammed or coached in one particular play. Every look, 
movement, and intonation was learned and got by heart, and 
faithfully reproduced 5 and the necessary result was that the per- 
formance was stiff, cold, and uninteresting. No one was thinking 
of his part or his character, but of how Mr. Threestars told him 
to say this and to do that. It is just what Mr. Ptuskin warns 
the amateur draughtsman to avoid. " Look at nature, and see 
how it affects your mind. Do not be thinking how So-and-so 
told you to do sky or to do grass" 

The Theatre Royal Back Drawing-Room is, in London, of so 
limited a size that there are not many plays which can conveni- 
ently be performed in it. Our genuine comedies have too many 
characters. Dramas of action require space and scenery. So the 
choice lies between farces and comedies de salon — episodes of real 
life — for which we seem to have no English name. This being 
the case, it is always a matter of amazement to us that the first 
thing to be done is to circumscribe the given space as much as 
possible by the introduction of a miniature theatre. When actors 
wish to represent scenes from genteel every-day life on the stage,' 
their object, and the difficulty they have to overcome, is to make 
it look like a drawing-room. Now, the object of the amateur 
seems to be to make the drawing-room look like a stage. When 
he has already four walls, doors, windows, fireplace, all "real 
and proper," as Mr. Swiveller says, why in the world should he 
put up pasteboard imitations of them ? If two exits are neces- 
sary, and are not always found ready to our hands, this can be 
remedied by a couple of screens, and elbow-room, always a great 
desideratum, gained thereby. Amateur actors object to this sim- 
plicity of decoration, on the score that they are too much at 



amateur's hand-book. 69 

home in it, that there is no illusion ; forgetting that to the spec- 
tators there is no possible illusion in the pasteboard room they 
erect for themselves, which has the effect of making its inhab- 
itants look preternaturallv big. The conditions of a public the- 
atre and an ordinary room are so different, that the attempt to 
produce illusion by means of scenery, should, as much as possible, 
be avoided. Real artists, like Levassor and John Parry, feel thi 
so strongly, that they prefer to dispense with these adjuncts 
almost entirely, and we have heard the same advice given br- 
others of great note in the profession. 

Those who give merely a few hours of their leisure, now and 
then, to the pursuit of an art, can never hope to compete, in 
point of execution, with those who make it the study and busi- 
ness of their lives. But it does not follow that they may not 
possess equal natural talent and aptitude. Gentlemen and ladies 
of intelligence, general education, and cultivated taste are likely, 
on the contrary, to snatch a grace beyond the reach of art, if 
they will only depend a little more upon themselves and trust to 
their instincts. " The amateurs run us very hard as long as they 
confine themselves to sketches," we have heard remarked by 
more than one of our greatest modern painters. A sketch, if 
faithful, is the rescript of an immediate impression made upon 
the mind ; but an attempt at a finished picture brings out all the 
technical weakness and ignorance. TTould that the amateur 
actors would take the hint, and give us lively sketches instead 
of stiff and stilted copies ! Spontaneousness is, above all others, 
the quality which gives its peculiar charm to the work of ama- 
teurs ; and this is deliberately flung away by all who condescend 
to mere mimicry. Xo critic, speaking of a public performer 
would make it a theme of laudation, that he sang or acted so ex- 
actly like another that one could hardly tell the difference 5 yet 
this is considered the highest compliment by most amateurs. It 
is one thing to resemble a great artist, and another to mimic 
him. Mimicry can never succeed in representing anything but 
the mannerisms, which is as much as to say the faults of its pro- 
totype, for the reason that all which is really great in him must 
come from intention, and that the copyist has not that intention. 



70 amateur's hand-book. 

The actor certainly labors under the disadvantage of being 
only the interpreter of another's thoughts ; but this he shares 
with the musical performer. The music is played or sung, as the 
drama is acted, by many others ; yet we find each may stamp it 
with his own individuality. Let the amateur actor, then, se- 
lect, with what discrimination he may, from among the plays 
already known to the public; but give the time and labor he 
now expends on learning the tricks of some favorite model in the 
profession, to forming his own conception, and a style of his own. 
He must not flatter himself, however, that he will be able to do 
this on the spur of the moment ; he will find it, at first, as much 
more difficult than his old practice, as the painting an original 
picture is more difficult than copying one. He will have to study 
acting, instead of confining his observations to one actor ; and to 
do so with advantage, he must use all his intelligence and powers 
of discrimination. But he will also find it much more interest- 
ing ; and when he has succeeded in making a character his own, 
he will probably succeed in representing it with ease and fidelity. 



CONCLUSION. 

Thisbe. And farewell, friends ; 
Thus Thisbe ends — 
Adieu, adieu, adieu ! Shakespeare. 

I have now arrived at the "beginning of the end," having 
performed my promise, and initiated the reader into all the mys- 
teries of an amateur performance, taken him into all the depart- 
ments, and given him, I believe, some useful hints for his 
guidance. Such as the little book is, I give it the world, trusting 
that its perusal may contribute to getting up an amusement 
which, if properly performed, must give pleasure. My task, if I 
can call writing so small a collection of gossiping hints a task, is 
accomplished ; and all I have to do is to get my readers about 
me, and range them in a row for the tag of the piece, for the 
moral to adorn the play — and here it is : Paint it in your brain 
in letters of gold, when you attempt Private Theatricals ; it is 
the sure signal to success ; nothing can be done well without it ; 
it is all in all to the amateur; it is Earnestness. Again and 
again I say to one and all : Be in earnest, and you must succeed. 
" Ring, ding, ding." 

CURTAIN FALLS. 



J 



AMATEUR'S HAND-BOOK. 



71 



©jeneral ipsi 



OF APPROPRIATE PIECES FOR AMATEUR PERFORMANCE, 

With the number of Characters required with each. 



PIECES FOH MALE CHARACTERS ONLY. 



15 



Number One Round the Corner 15 cents 

Two Gents in a Fix 25 ' 

Unwarrantable Intrusion 15 

Two in the Morning j ( Translations from the 
Good Night's Rest [ same Original) 

Taming a Tiger 25 

Sent to the Tower 15 

Fast Train 25 

Two Gay Deceivers 25 

Sylvester Daggerwood 20 

Left the Stage 25 

Guy Faux (Comic Reciter, Part 4j 25 

Pyramus and Thisbe (Comic Reciter, Part 5). .25 

Rival Pages (on the public stage, the two Pages ) 9 - 

are represented by Females in Male attire, ) 

Roman Actor 25 

Race for a Dinner 20 



for 2 characters. 
2 



10 

10 



SERIO-COMIC DRAMAS, 

For Male Characters only. Price 40 cents. 

Pari 1. — Joseph in Egypt— a Sacred Drama. . f '.for 6 characters. 

Harvest Storm — a Domestic Drama ; 9 ^ ~\" 

Cross of St. John — a Serious Drama 13 \ * 

Blind Boy— a Melo-drama : 10 " 



72 amateur's hand-book. 

COMIC DRAMAS FOR COLLEGE, CAMP AND CABIN. 

CONSISTING OF PIECES WITHOUT FEMALE CHARACTERS. 

Selected and Adapted by the Editor. Price 40 cents each Part. 

Part 1. — Spanking Legacy for 5 characters. 

Furnished Apartments 5 

Spectre Bridegroom 6 

A Martyr to Science 4 

Illustrious Stranger 8 

Part 2. — Smoked Miser 6 

Sleeping Draught . 9 

Cherry Bounce 6 

All at Coventry I 9 

Part 3. — Make your Wills 7 

Review 8 

Fortune's Frolic 8 

D'ye Know Me Now ? 5 

Babes in the Wood 7 

(To be continued.) 



MASSEY'S EXHIBITION RECITER, 

In Two Parts, 30 cents each. 

Part "* — Guy Fawkes for 5 characters. 

Man with Carpet-Bag 11 " 

White Horse of the Peppers 8 " 

Mesmerism 7 " 

&c, &c. 

Part 2 — Love and Jealousy for 6 characters. 

Irish Tutor 5 " 

Bombastes 8 " 

School for Orators 9 " 

&c, &c. 



amateur's hand-book. 73 

BROUGH'S BURLESQUE DRAMAS, 

Price 40 cents, containing 

King Alfred and the Cakes for 4 characters. 

William Tell . 7 " 

Orpheus and Eurydice 6 " 



LACY'S COMIC RECITER, 

Five Parts, at 25 cents each. 

Contains — in addition to a great variety of approved Recitations, Tales, 
Stump Speeches, Dialogues, &c. — a selection of Opening Addresses, 
Prologues and Epilogues, which, with slight alteration, may be 
adapted to any locality or circumstances. 



LACY'S DRAMATIC RECITER, 

25 cents. 

An excellent collection of Serious Recitations, Dialogues, Ad- 
dresses, etc. 



• At Oxford, Cambridge, and other leading Colleges and Institu- 
tions, female assistance must be dispensed with. Almost all the 
modern Burlesques are well suited for performance under this 
restriction, and few need to be told that such representations 
have generally been attended with most satisfactory results. 



MISS KEATIXG'S DRAMAS FOR BOYS, 
Price 40 cents, contains the following Original Pieces. 

1. Plot of Potzentausend — a Comic Drama for 10 characters. 

2. Incog — a Farce 7 " 

3. Poor Relation — a Comic Drama 7 " 

4. The Talisman— a Drama 7 " 



74 amateur's hand-book. 

LADIES' PLAYS. 

Mr. Lacy lias published two Shilling Books, (to be continued,) 

containing Dramas with Female characters only; and it is a 

source of sincere pleasure for him to know how much harmless 

enjoyment has accrued from his idea of introducing this little 

Work — which has received the sanction of very high religious 

authorities. 

Price 40 cents each. 

Part 1. — 1. School for Daughters — Comedy, in 3 Acts . . 14 characters. 

2. Mrs. Willis' Will— a Farce 5 

3. Duchess of Mansfelt — a Comic Drama 7 * ' - 

Part 2. — 1. Slighted Treasures — a Petite Comedy 4 " 

2. A Slight Mistake— a Farce 5 " 

3. La Kosiere — a Comedy 10 " 

4. Who's to Inherit ? — a Comedy 9 " 

Part 3 will contain — 

FOUR ORIGINAL PLAYS, 
By Miss Keating. 



LACY'S FAIRY PLAYS AND HOME BURLESQUES. 

By Miss Keating. — Price 25 cents each. 

1. Beauty and the Beast. 

2. Blue Beard. 

3. White Cat. 

4. Cinderella. 

5. Yellow Dwarf. 

6. Aladdin. 

7. Puss in Boots. 

8. Little Red Riding Hood. 

9. Sleeping Beauty. 
10. AliBaba. 

The object of this Publication is to present a series of easy Ex- 
travaganzas, altogether independent of scenic aid, unobjectionable 
in language, and thoroughly adapted to secure a joyous evening to 
Actors and Spectators. 



AMATEUR'S HAND-BOOK. / 3 

THE SERIES OF CHARADE PLAYS, 

At 40 cents each, 

Will also be found exceedingly well adapted for Family Per- 
formance, as they are shorter than any play- and from the 
variety of incidents and characters (each syllable, of course, 
forming the groundwork of the plot, and being an entire little 
drama), they afford opportunities for the enlistment of all ages in 
the dramatis persona 

t MISS KEATIXG'S CHARADE DRAMAS FOR THE 
DRATTIXG-ROOM. 

Partly in Verse. 2 Parts, at 40 cents each. 



Part L— 1. Blue Beard. 
2. Photon. 
8. Cataline. 
4. Guy Faux. 



Part H. — 1. Counterplot. 

2. Blindfold. 

3. Outlaw. 

4. Sleeping Draught. 



MISS KEATIXG'S PLAYS FOR THE PARLOR. 

Party in Verse. 2 Parts, at 40 cents each. 

Part I. — 1. Banditti. I Part H. — 1. Nightingale. 

2. Aladdin. 2. Matchlock. 

3. Inspector. 3. Rebellion. 

4. Xightniare. 

MISS PICKERING'S CHARADES FOR ACTIXG. 

Are all for Modern Costume, and in Prose. Price 40 cents each. 

1. Honielv. 8. Candidate. o. Final. 

2. Backbiting. 4. Mistake. 

SIX CHARADES. By W. H. SMITH. 

Price 40 cents. 

1. Outrage. 3. Plaintiff. 5. Counterplot. 

2. Courtship. 4. Coastguard. 6. Blue Beard. 

MISS FRANCIS 5 CHARADE DRAMAS. 

One French and Three English. Price 40 cents. 

1. Woodman. 3. Chapeau. 

2. Kenilworth. 4. Chatterbox. 



76 



AMATEUR'S HAND-BOOK. 



WM tff Jie«8' 



SUITED FOR AMATEUR PERFORMANCE, WITH THE NUMBER OF 
MALE AND FEMALE CHARACTERS IN EACH. 

* In these pieces the Lady assumes Male attire 

(c) Means costume or powder pieces. 

A figure affixed denotes the number of Acts. 

One Character. — One Female. 

Unprotected Female. 15 cts. 

Two Characters. — One Male and one Female. 



-Antony and Cleopatra. 15 cts. 
Conjugal Lesson. 15 cts. 
Forty Winks: 25 cts. 
Household Fairy. 25 cts. 
Locked in with a Lady. 25 cts. 
Locked Out. 25 cts. 
Loye and Eain. 25 cts. 



Man that follows the Ladies. 

25 cts. 
Morning Call. 15 cts. 
Opposite Neighbors. 15 cts. 
-•Pair of Pigeons. 25 cts. 
Personation. 15 cts. 
"Rifle Volunteer. 25 cts. 



Three Characters.— Two Males and One Female, 

15 cts. 
or, The 



Angel of the Attic (c). 
Book III., Chapter I. 
Subterfuge. 15 cts. 
Box and Cox. 15 cts. 
Change of System. 25 cts. 
Delicate Ground (c). 15 cts. 
"Devilish Good Joke (c). 15 cts. 
Love in Humble Life (c). 15 cts. 



My Wife's Diary. 25 cts. 
Pierette, musical piece. 25 cts. 
Silent Woman, A. 25 cts. 
State Prisoner (c). 25 cts. 
Victor Vanquished (c). 15 cts. 
Wanted, a Young Lady. 25 cts. 
Which shall I Marry ? 25 cts. 



Two Females and one Male. 



Good Little Wife, A. 25 cts. 
Soldier's Courtship, A. 15 cts. 



Lady and Gentleman in a Perplex- 
ing Predicament. 15 cts. 



Four Characters. — Two Males and Two Females. 



Betsy Baker. 15 cts. 

Comedy and Tragedy. 15 cts. 

Cosy Couple. 25 cts. 

Doubtful Victory, A. 25 cts. 

Fairy's Father. 25 cts. 

Give a Dog a Bad Name. 25 cts. 

Kiss in the Dark, A. 15 cts. 



Laughing Hyena. 15 cts. 
"My Wife's Out. 25 cts. 
Only a Halfpenny. 25 cts. 
Terrible Secret, A. 25 cts. 
Under the Rose. 25 cts. 
Who Killed Cock Robin ? 15 cts. 
-Young Widow. 15 cts. 



AxMATEUR'S HAND-BOOK. 



77 



Three Males and One Female. 



Ample Apology, An. 25 cts. 

Comical Countess (c).f 25 cts 

Lucky Hit, A (c).f 15 cts. 

i:: -Faint Heart did Win Fair Lady, 

(c). 25 cts. 

Intrigue. 25 cts. 

Jeanne tte's Wedding, musical 

piece (c). 25 cts. 
Love and Charity. 25 cts. 
Love in Humble Life. 15 cts. 
Maid with Milking Pail (c). 15 cts< 



Matrimony (c). 15 cts. 

Our New Man. 25 cts. 

Patient Penelope, musical extrava- 
ganza (c). 25 cts. 

Romance under Difficulties. 15 cts. 

Villikins and Dinah, burlesque (c). 
25 cts. 

Was I to Blame ? 25 cts. 

Wooing in Jest. 25 cts. 

Woman's the Devil. 25 cts. 



Five Characters — Three Male and Two Female. 



Affair of Honor, An. 20 cts. 

Aged 40. 25 cts. 

Area Belle. 25 cts. 

As Like as Two Peas. 25 cts. 

A. S. S. 25 cts. 

Aunt Charlotte's Maid. 25 cts. 

Barber and Bravo. 25 cts. 

Bonnie Fish Wife. 25 cts. 

Borrowed Feathers. 25 cts. 

Cantab, The. 25 cts. 

Capital Match, A. 25 cts. 

Cool as a Cucumber. 15 cts. 

Cousin Peter (c). 25 cts. 

Cousin Tom. 25 cts. 

Day after the Wedding. 15 cts. 

Decided Case, A. 15 cts. 

Desperate Game, A. 25 cts. 

Done on Both Sides. 25 cts. 

Don't- Judge by Appearances. 

25 cts. 
Eclipsing the Son. 25 cts. 
Good for Evil, serio-comic, 2. 

25 cts. 
Head of the Family. 25 cts. 
Heads or Tails. 15 cts. 
His Excellency. 25 cts. 
Ladies' Battle, 3. 15 cts. 



Lottery Ticket. 15 cts. 
Lover's Quarrels (c). 25 cts. 
Maid of Croissey, 2 (c). 15 cts. 
Model of a Wife, A. 25 cts. 
Mistress of the Mill.f 25 cts. 
Windmill (c).f 25 cts. 
My First Fit of the Gout. 25 cts. 
Nabob for an Hour. 25 cts. 
Naval Engagements. 15 cts. 
On the Sly. 25 cts. 
Perfection. 15 cts. 
Queen of Arragon (c). 25 cts. 
Rights and Wrongs of Woman. 

25 cts. 
Sarah's Young Man. 25 cts. 
Somebody Else (c). 15 cts. 
Storm in a Tea Cup. 25 cts. 
Three Cuckoos (c). 25 cts. 
To Oblige Benson. 15 cts. 
-Tom Noddy's Secret (c). 15 cts. 
Turn Him Out. 15 cts. 
Two Friends, drama, 2. 15 cts. 
Ugly Customer, An. 25 cts. 
Very Serious Affair, A. 25 cts. 
Whitebait at Greenwich. 15 cts. 
Who Speaks First. 15 cts. 
Youthful Queen, 2 (c). 15 cts. 



Four Males and One Female. 



Blue Devils. 15 cts. 
Caught by the Cuff. 25 cts. 
Cherry Bounce. 25 cts. 
Curious Case, A. 25 cts. 
Day after the Fair. 15 cts. 
Family Failing. 15 cts. 
Fearful Tragedy in 7 Dials. 25 cts. 



I've Eaten My Friend. 25 cts. 
Match Making. 25 cts. 
Monsieur Jaques. 25 cts. 
Mrs. Green's Snug Little Business. 

25 cts. 
Only a Clod. 25 cts. 
Painter of Ghent, drama, 1 (c). 25c. 



t Translations from samo original. 



78 



AMATEUR'S HAND-BOOK. 



Paul Pry Married. 25 cts. 
Kule of Three. 25 cts. 
Sentinel, musical farce (c). 35 cts. 



Ticket of Leave. 25 cts. 

Two Heads better than One. 25 cts. 

Wilful Ward. 25 cts. 



Two Males and Three Females. 



Box & Cox Married. 15 cts. 
Christmas Boxes. 25 cts. 
In for a Holiday. 25 cts. 
Maid of Honor, (c). 25 cts. 



Poor Pillicoddy. 15 cts. 
Pretty Piece of Business, A. 15 cts. 
Twice Told Tale, A. 15 cts. 
Widow Bewitched. 25 cts. 



Six Characters. — Two Males and Four Females. 

~\>pping the Question. 15 cents. 

Three Males and Three Females. 



Anything for a Change. 25 cts. 
Bristol Diamonds. 25 cts. 
Brother Ben. 25 cts. 
Dowager (c). 15 cts. 
Dying for Love. 15 cts. 
Flies in the Web, 3. 25 cts. 
Goose with the Golden Eggs. 

25 cts. 
Handsome Husband, A. 25 cts. 
House or the Home. 25 cts. 
Humpbacked Lover. 20 cts. 
Jacobite (c). 15 cts. 
Lesson in Love, 3. 25 cts. 
Little Toddlekins. 15 cts. 
Lodgings for Single Gents. 25 cts. 
Love's Telegraph, 3 (c). 25 cts. 
Mistaken Story, A. 25 cts. 
More Precious than Gold. 25 cts. 
Mrs. White. 25 cts. 



My Dress Boots. 25 cts. 
My Husband's Ghost. 15 cts. 
My Neighbor's Wife. 15 cts. 
My Wife's Come. 25 cts. 
Nothing to Nurse. 15 cts. 
Observation and Flirtation. 25 cts. 
Orange Blossoms. 25 cts. 
Short and Sweet. 25 cts. 
Silent System. 25 cents. 
Spirit of the Ehine, 2, musical piece. 

25 cts. 
Stock Exchange. 25 cts. 
Sunshine Through Clouds. 25 cts. 
Too Much of a Good Thing. 25 cts. 
Trying it on. 15 cts. 
Two Bonnycastles. 15 cts. 
Vandyke Brown. 25 cts. 
Yery Suspicious. 25 cts. 
Your Life's in Danger (c). 25 cts. 



Four Males and Two Females. 



B. B. 25 cts. 
Behind Time. 25 cts. 
Captain of the Watch (c). 15 cts. 
Charles II., 2 (c). 15 cts. 
Conquering Game. 25 cts. 
Double-Bedded Boom. 15 cts. 
^Double Dummy. 25 cts. 
Douglas, tragedy, 5 (c). 15 cts. 
Fascinating Individual. 15 cts. 
Founded on Facts. 25 cts. 
Four Sisters. 25 cts. 
Grimshaw, Bagshaw and Brad- 

shaw. 15 cts. 
Grist to the Mill, 2 (c). 15 cts. 



Hi's Excellency. 25 cts. . 
Irish Tutor. 15 cts. 
I've Written to Brown. 25 cts. 
John Wopps. 25 cts. 
Kill or Cure. 15 cts. 
Little Savage. 25 cts. 
Living too Fast. 25 cts. 
Match in the Dark. 15 cts. 
Model Husband. 25 cts. 
New Footman. 15 cts. 
Nursey Chick weed. 25 cts. 
Petticoat Government. 25 cts. 
Phenomenon in Smock Frock. 
15 cts. 



amateur's hand-book. 



79 



Poor Cousin Walter (c). 25 cts. 
Keal and Ideal. 25 cts. 
Rough Diamond. 15 cts. 
Secret. 15 cts. 
Siamese Twins. 15 cts. 



Slasher and Crasher. 15 cts. 
Station House. 25 cts. 
Thirty-three Next Birthday. 

25 cts. 
Who do they take Me for ? 25 cts. 



Five Males and One Female. 



Cherry Bounce. 25 cts. 
Chesterfield Thurskin. 25 cts. 
Done Brown. 25 cts. 
Good for Nothing. 15 cts. 
Lucky Hit (c). 15 cts. 



Power and Principle 3 (c). 
Practical Man. 25 cts. 
Ptetained for the Defense. 
Tooth Ache (c). 25 cts. 
Wicked Wife (c). 25 cts. 



25 cts. 
25 cts. 



Seven Characters. — Four Males and Three Females. 



Bowled Out. 25 cts. 
Brother Bill and Me. 25 cts. 
Clockmaker's Hat. 15 cts. 
Dearest Mamma. 25 cts. 
Did I Dream it. 25 cts. 
Englishman's House is His Castle. 

25 cts. 
Green-Eyed Monster, 2. 20 cts. 
Husband to Order, 2 (c). 25 cts. 
John Smith. 25 cts. 
Mad as Hatter. 25 cts. 
Miller of Mansfield (c). 25 cts. 
My Wife's Dentist. 25 cts. 
My Wife's Second Floor. 25 cts. 
Nice Quiet Day. 25 cts. 
Nine Points of the Law. 25 cts. 
Object of Interest. 15 cts. 
Of Age To-morrow. 20 cts. 



Old Trusty. 25 cts. 
Peace and Quiet. 25 cts. 
Quaker, operetta, 2. 20 cts. 
Railroad Station. 25 cts. 
Rifle and How to Use It. 25 cts. 
Samuel in Search of Himself. 

25 cts. 
Second Love, 3. 15 cts. 
Splendid Investment. 25 cts. 
Spring and Autumn. 15 cts. 
Take Care of Dowb. 25 cts. 
Ticklish Times (c). 15 cts. 
Tom Thumb (c). 20 cts. 
Urgent Private Affairs. 25 cts. 
Wandering Minstrel. 15 cts. 
Who's My Husband. 25 cts. 
William Thompson. 20 cts. 
Woodcock's Little Game. 25 cts. 



Alcestis Travestie (c) 

Better Half. 25 cts. 

Chimney Corner, 2. 25 cts. 

Delusion. f 15 cts. 

Dream of Delusion, f 15 cts. 

Duchess or Nothing (c). 25 cts. 

First Night. 15 cts. 

Fish out of Water. 25 cts. 

Irish Tiger. 15 cts. 

Jeweler of St. James' , 3 (c). 25 cts. 



Two Males and Five Females. 

Cruel to be "Kind. 
Five Males and Two Females. 
. 25 cts. 



John Dobbs. 25 cts. 
John Jones. 25 cts. 
King and I (c). 25 cts. 
Lady and the Devil, 2 (c) 
Lend Me Five Shillings. 
Loan of a Lover (c). 15 cts. 
Maid or Wife. 20 cts. 
Make your Wills. 15 cts. 
Nothing Venture, etc., 2, (c). 
25 cts. 



15 cts. 
15 cts. 



translations from same original. 



80 



AMATEUR'S HAND-BOOK. 



Old Honesty, 2. 25 cts. 
Old Phil's Birthday, 2 (c). 25 cts. 
Separate Maintenance. 25 cts. 
Slasher and Crasher. 15 cts. 
Spectre Bridegroom. 15 cts. 



State Secrets (c). 15 cts. 
Village Lawyer. 15 cts. 
Wedding Day. 15 cts. 
Wilful Murder. 25 cts 



Three Males and Four Females. 



Allow Me to Apologize. 25 cts. 
Domestic Economy. 25 cts. 
Everybody's Friend, 3. 25 cts. 
Hard Struggle. 15 cts. 
Ici on Parle Francais. 15 cts. 
Jack's Delight. 25 cts. 



Laurence's Love Suit, 2. 25 cts. 
Love is Blind. 25 cts. 
Marriage a Lottery. 25 cts. 
My Aunt's Husband. 25 cts. 
Simpson & Co. 15 cts. 



Six Males and One Female. 



Brigand of Calabria (c). 25 cts. 
Caught by the Ears. 25 cts. 
Chaos is Come Again. 35 cts. 
Diamond Cut Diamond. 25 cts. 



Hunting a Turtle. 25 cts. 
Thrice Married. 25 cts. x 
Turned Head. 15 cts. / 
Turkish Bath. 25 cts. 



Eight Characters. — Two Males and Six Females, 

How's your Uncle ? 25 cts. 

Three Males and Five Females. 

Last of the Pigtails. 15 cts. 

Four Males and Four Females. 



Brother and Sister (c). 25 cts. 

Deaf as a Post. 15 cts. 

How will they get out of it. 

25 cts. 
Love in Livery. 15 cts. 



Music hath Charms. 25 cts. 
My Sister Kate and my Man Tom. 

25 Cts. ■ ^- ■-y**4f 

Quiet Family. 15 cts. 
Two Polts. 25 cts. ., 



Five Males and Three Females. 



Attic Story. 20 cts. 
Bachelor's Buttons. 25 cts. 
Balance of Comfort. 25 cts. 
Boots at Swan. 15 cts. 
Cavalier, drama, 3 (c). 25 cts. 
Census. 25 cts. 
Forest Keeper, 2 (c). 25 cts. 
Goose with the Golden Eggs. 
25 cts. 



If the Cap Fits. 
Jacket of Blue. 
Joconde, 2 (c). 
Loan of a Wife. 



25 cts. 
25 cts. 
20 cts. 

25 cts. 



Lost Diamond, drama, 2. 25 cts. 



Lover by Proxy. 15 cts. 
Pipkin's Rustic Retreat. 25 cts. 
Post Boy, 2. 25 cts. 
P. P. 15 cts. 
Quiet Day, A. 25 cts. 
Rendezvous. 15 cts. 
Sergeant's Wedding. 25 cts. 
Stage Struck. 15 cts. 
Sudden Thoughts. 15 cts. 
Turning the Tables. 25 cts. 
Twice Killed. 25 cts. 
Who's my Husband ? 25 cts. 
Wonderful Woman, 2 (c). 25 cts. 
Young England. 25 cts. 



AMATEUR'S HAND-BOOK. 



81 



Six Males and Two Females. 



Animal Magnetism (c). 15cts. 
Bachelor Arts, 2. 15 cts. 
Cabinet Question. 25 cts. 
Dead Shot. 15 cts. 
Doing Banting. 25 cts. 
Douglas Travestie (c). 25 cts. 
Dowager, The. 15 cts. 
Faint Heart Never Won Fair 

Lady. 15 cts. 
Fitzsmith, of Fitzsmyth Hall, 

25 cts. 
Floating Beacon, 2 (c). 15 cts. 
Follies of a Night, 2 (c). 15 cts. 
Frederick of Prussia (c). 25 cts. 
Hopeless Passion (c). 25 cts. 
Jocrisse, the Juggler, 3. 25 cts. 
John of Paris, (c). 20 cts. 
King Rene' s Daughter (c) . 15 cts. 
Man and the Marquis (c). 20 cts. 



Married Bachelor. 15 cts. 

Midnight Watch (c). 25 cts. 

Mummy. 15 cts. 

My Wife's Husband. 15 cts. 

Our Wife, 2 (c). 15 cts. 

Porter's Knot, 2. 25 cts. 

Review. 15 cts. 

Rival Valets. 20 cts. 

She Would and He Wouldn't, 2 

(c). 25 cts. 
Sink or Swim, 2. 25 cts. 
Time Tries All, 2. 15 cts. 
Tobit's Dog, The (c). 50 cts. 
Trumpeter' s Wedding (c) . 25 cW 
Uncle Zachary. 25 cts. 
Weathercock. 15 cts. 
What Have I Done ? 25 cts. 
Where There's a Will There's a 

Way (c). 25 cts. 



Seven Males and One Female. 



Thumping Legacy (c). 15 cts. 
Two Galley Slaves, drama, 2. 
20 cts. 



Harvest Storm, drama. 25 cts. 
I'll be Your Second. 25 cts. 
Lancers. 25 cts. 
Payable on Demand, 2. 25 cts. 

Nine Characters. — Three Males and Six Females. 

Court of Oberon (c). 25 cts. | Mischief Making. 15 cts. 

Four Males and Five Females. 

From Village to Court, 2(c). 25 cts. 

Five Males and Four Females. 

Omnibus. 15 cts. 



Race for a Widow. 25 cts 

Appearances. 25 cts. 

War to the Knife, 3. 25 cts. 



Crossing the Line (c). 15 cts. 
Lesson for Gentlemen. 25 cts. 



Six Males and Three Females. 



Bamboozling. 15 cts. 
Birthplace of Podgers. 25 cts. 
Faces in the Fire, 3. 25 cts. 
Fortune's Frolic. 15 cts. 
Friend in Need, 2. 25 cts. 
Gamester, tragedy, 5 (c). 15 cts. 
Honesty the Best Policy, drama, 2 

(c). 20 cts. 
Hush Money. 25 cts. 



Irish Doctor. 15 cts 
Irishman in London. 
Irish Post. 15 cts. 
Mendicant, drama, 2. 
Midnight Hour, 2(c). 
My Heart's Idol, 2. 25 cts. 
Spare Bed. 20 cts. 
Tit for Tat, 2. 25 cts. 
Veteran of 102 (c). 25 cts. 



15 cts. 

20 cts. 
20 cts. 



82 



AMATEUR'S HAND-BOOK. 



Seven Males and Two Females. 



Amateurs and Actors. 15 cts. 
Artful Dodge. 25 cts. 
Blue Beard, Byron (c). 25 cts. 
Charles XII., 2(c). 15 cts. 
Illustrious Stranger (c). 15 cts. 
Innkeeper of Abbey ville, melo- 
drama, 2 (c). 15 cts. 



Intimate Friend. 25 cts. 

Next of Kin. 25 cts. 

Paul Pry, 2. 15 cts. 

Point of Honor, play, 3 (c) . 20 cts. 

Kaising the Wind, 15 cts. 

Review. 15 cts. 

St. Patrick's Day. 20 cts. 



Eight Males and One Female. 
'Twould Puzzle a Conjurer (c). 

15 cts. 
To Paris and Back for £5. 15 cts. 



Eddystone Elf, mevo-arama, 2 (c). 
20 cts. 



Ten Characters. — Five Males and Five Females. 



Everybody's Husband. 20 cts. 
Love and Hunger. 25 cts. 
Married Life, 3. 15 cts. 
My Preserver. 25 cts. 



Old Story. 25 cts. 

Playing with Fire, 3. 25 cts. 

Serious Family, 3. 15 cts. 



Six Males and Four Females. 



Adopted Child, drama, 2 (c). 15 cts. 
Memoirs of the Devil ; or, the 

Black Book of Ronquerolles, 3 

(c). 25 cts. 



My Fellow Clerk. 15 cts 
Regular Fix, A. 15 cts. 
Therese, drama, 3 (c). 15 cts. 



Seven Males and Three Females. 



Aggravating Sam. 25 cts. 
Alive and Merry. 25 cts. 
Barbarissa, tragedy, 5 (c). 20 cts. 
Broken Sword, drama, 2 (c). 15 

Chain of Guilt, 3 (c). 20 cts. 
Crock of Gold, drama, 3 (c) . 25 cts. 
False and Constant, 2. 25 cts. 



Lucky Stars (c). 25 cts. 
Master's Rival, 2. 20 cts. 
Muleteer of Toledo (c). 25 cts. 
Night in the Bastile, drama, 3 (c). 

25 cts. 
Pride of the Market, 2 (c). 15 cts. 
Steeplechase. 25 cts. 
Turn Out, musical farce. 20 cts. 



Eight Males and Two Females. 



All at Coventry. 20 cts. 
Bandit, Blind Mine, drama, 2 (c) 

25 cts. 
Chang Ching (c). 25 cts. 
Comfortable Lodgings. 20 cts. 
Corporal's Wedding. 25 cts. 
Cramond Brig (c). 20 cts. 
Don Caesar, 3 (c). 15 cts. 



Man with the Carpet-Bag. 20 cts, 
Othello Travestie (c). 25 cts. 
Point of Honor (c). 20 cts. 
Robert Macaire, 2 (c). 15 cts. 
Self Accusation, drama, 2 (c). 

Still Waters, 3. % 15 cts. 
Unfinished Gent. 15 cts 



25 



Eleven Characters. — Six Males and Five Females. 



Delicate Attentions. 25 cts. 
Love Knot. 15 cts. 
No Followers. 25 cts. 



No Song, no Supper, musical farce, 
2(c). 20 cts. 



-.::.,::v:.*i basi - 



S3 



Seven Mala -nala. 



Charcoal Burner, drama, 3, (c). 

15 : 
Don't Lend Your Umbrella. 2. 

Hicrh Life Belo* • _ ) cts. 



Mr. and Mrs. Pringle. 20 cts. 

- 



15 : 

_' 

Plot and Counter: 

Roll of the Drum, drama, 3 (c). 



Males and Three Females, 
Barark Johnson, drama. 25 cts. f E 3 (c). 

Cure for the Heart-ache, 3. 15 cts. Lucky Stars (e). 
Death Token, dranvi. 3 (e). i a 
Father and Son. drama, 2 (c 1 5 

Haunted Inn. /arc*. 2 

/"; :\ir Males and Seven Females. 
Too Much for Good Nature. 25 cts. \ Milliner's Holiday. S 
Nine Males and Tico Females. 
Not a Bad Judr:. 2(c). 1" 
J/j/es on J On* Female. 
"inice Preserved, tragedy, 5 (c). 15 
Plays with Twelve Characters and upwards. 

c] 15 cents, 

■ •:•■ 15 

Belphegor, drama, 3 (c) 15 

Bird in Hand, comic drama, 3 (c) _ 6 

Black Domino, comic drama, 3 (c) 25 

Bride of Ludgate, comedy {e) S90 

2 ■ ■;•; 15 

Brut'i : : IS 

Castle Spectre, play, 3 (c) . .15 

Cato. 7r2/; c -.ay ' 20 

Iren in the Wood, 2 (c) 15 

:mic drama, 2 (c) 15 

Damon and Pythias. j?Zay, 5 (c) 1 ' 

-•" 

/OTW 1 . 

Ella Rosenberg, drama, 2 (c) 15 

Eag&] 20 

. - . : : .' - '.' 

zma, 3 (e) 20 

:mer. drama, 3 (c) 

Happiest Day of my Life 20 

Hoiieymc po, rwmrfy, 3 or 5 (c) I' 

Be Dog- 15 

Housekeeper, corr^iy. Z 25 

Hu^ihbaik. pla$ .5 : 15 

Hundred Pound Note, farce 20 



cpicar 


3 *' Male. 


-: eaMte. 


ente. 


8 


4 




10 


3 




12 


4 




9 


3 




7 


6 




10 


2 




10 


2 




12 


4 






3 






2 






4 




8 


4 






4 






4 






3 




10 


3 




10 


6 




12 


4 




- 


4 




S 


4 







* 




% 


4 




10 


3 






3 




12 


Q 








9 


3 



84 



amateur's hand-book. 



Hunter of Alps, comic drama, 2 (c) 20 cents 9 

Husband for an Hour, drama, 2 (c) 15 

Iron Chest, play, 5 (c) . . .* 15 

Jealous Wife, comedy, 3 (c) 15 

John Stafford, drama, 3 (c) 25 

Julius Csesar, tragedy, 5 (c) 15 

Katherine and Petruchio, comedy, 3 (c). . . .15 

Lady of the Lake, drama, 3 (c) 15 

Last Man, drama, 2 (c) 15 

London Assurance, comedy, 5 15 

Lord Darnley, drama, 2 (c) 25 

Married Daughters, comic drama, 2 25 

Monsieur Tonson, farce, 2 15 

Nervous Man, farce, 2 15 

Past Ten O'clock, farce 20 

Peggy Green, farce, 1 25 

Poor Gentleman, comedy, 3 (c) 15 

Prisoner of War, comedy, 2 (c) 25 

Eivals, comedy, 6 (c) 15 

Robber's Wife, drama 15 

Schoolfellows, comedy, 2 (c) 25 

Shepherd Derwent Vale, drama, 3 (c) 20 

She Stoops to Conquer, comedy, 3 or 5 (c) . .15 

Speed the Plough, comedy, 3 (c) 15 

Teddy the Tiler,/arce, 15 

Victims, comedy, 3 15 

X. Y. Z., farce. ....20 



Male. 


Female 


ilts 9 


4 


* 8 


4 


< 10 


4 


» 10 


4 


1 12 


2 


' 21 


2 


f 10 


3 


1 11 


4 


1 9 


3 


* 10 


3 


< 12 


2 


1 5 


8 


1 10 


3 


1 10 


4 


' 9 


3 


< 3 


10 


' 10 


4 


1 10 


5 


' 8 


4 


« 10 


1 


' 10 


3 


1 10 


2 


< 10 


3 


1 10 


4 


< 6 


8 


1 9 


6 


< 11 


4 



BURLESQUES AND EXTRAVAGANZAS. 

The following list comprises those pieces least dependent on 
scenic effects, and which can be performed with or without fe- 
male aid. Costumes will be requisite in all of them. The music 
of the great majority can be hired of any theatrical manager. 

Alcestis 25 cents 

Alfred the Great .25 

Ali Baba ; or Thirty-nine Thieves 25 

Alonzo the Brave ; or Faust and Imogene.25 

Amoroso, King of Little Britain 20 

Babes in the Wood 25 

Babes in the Wood, comic, part 3. 50 

Billy Taylor 20 

Blue Beard (Byron) 25 

Bombastes Furioso 15 

Calypso 25 

Chang-Ching Fou 25 

Chrononhotonthologos 20 

Cinderella (Byron). 25 



Male. 


Female 


nts 5 


2 


' 11 


3 


' 8 


4 


« 7 





! 5 


2 


' 7 


4 


4 7 





1 9 


1 


4 6 


3 


' 5 


1 


4 3 


4 


' 8 


2 


< 8 


5 


' 6 


4 



AMATEUR'S HAND-BOOK. . 85 



Dido 25 c 

Douglas Travestie 25 

Emani 25 

Esmeralda 25 

Fair Rosamond 25 

Faust (Burlesque) 25 

Golden Fleece 25 

1 ' Grin ' ' Bushes 25 

Hamlet Travestie 25 

Ivanhoe 25 

Ixion 25 

King Alfred and the Cakes (BrougKs bur- 
lesque) . 40 

Lady of Lyons (Byron) 25 

L' Africaine 25 

La ! Sonnambula ! (Byron) 25 

Lord Lovel and Lady Nancy Bell 25 

Loves of Lord Bateman and Fair Sophia. .25 

Macbeth TTavestie (Byron) 25 

Mazeppa 25 

Mazourka 25 

Miller and his Men 25 

Miss Eily O'Connor < . 25 

Norma Travestie 25 

Nymph of Lurleyberg 25 

Orpheus and Eurydice (BrougKs burlesque) .40 

Orpheus and Eurydice 25 

Orptieus in the Havmarket 25 

Othello Travestie .* 25 

Patient Penelope 25 

Prince Amabel 25 

Quadrupeds 25 

Richard ye in 25 

Robin Hood (Burnand) 25 

Robinson Crusoe ) /r , . ^ . , . A Ark 
Jocrisse&Lisette \ (^emng Entertainment) . A0 

Rumplestiltskin 25 

Timour the Tartar 25 

Tom Thumb 20 

The Motto 25 

Villikins and Dinah 25 

William Tell (Brough's burlesques) 40 



Male. 


Female. 


9 





6 


o 


8 


3 


9 


4 


8 


4 


7 


2 


YYYYY 5 


4 


15 


2 


9 


2 


6 


L0 


3 


1 


7 


3 


6 


4 


7 


5 


6 


1 


6 


3 


13 


2 


8 


3 


6 


3 


8 


2 


6 


3 


3 


3 


9 


3 


5 


1 


6 


3 


-. 5 


7 


8 


2 


3 


1 


10 


6 


YYYYY.12 


3 


18 


5 


(10 


1 


•— 1 2 


1 


. 4 


3 


7 


3 


YYYYY. 9 


3 


3 


1 


7 






SENSATION SERIES. 
Very short, but very astonishing Jfelo-dramas, suited for Fetes. 

1. The Blazing Burgee. 25 cts. I 5. Domestic Hearthstone. 25 cts. 

2. The Port-Admiral. 25 cts. | 6. Pretty Jane. 25 cts. 

3. Braganzio the Brigand. 25 cts. j 7. Alice* the Mvsterv. 25 cts. 

4. The Tyrant, the Slave, the Vic- j 8. Rose of Sthiging'Nettle Farm, 
tim, and the Tar. 25 cts. 25 cts. 



86 



ADVERTISEMENTS. 



TONY DENIER'S 

Parlor Pantomimes, 

OR, 

PAW* ^mmmmi fax ®U until § qm$, 

BY TONY DENIER, Esq., 

TJie World-Renowned Comic Pantomimist. In Ten Parts. Price 25 cents each. 

No. V. 



No. I. 

A Memoir of the Author. By Syl- 
vester Bleeker, Esq. 

How to Express the Various Pas- 
sions, Actions, etc. 

The Four Lovers; or > Les Rivales* 
Rendezvous. 

The Frisky Cobbler, or, The Eival 

Artisans. 

No. II. 

The Eise and Progress of Panto- 
mime. 

The Schoolmaster ; or, The School in 
an Uproar. 

Belle Of Madrid ; or, a Muleteer's 
Bride. 

La Statue Blanche ; or, The Lovers' 
Stratagem. 

No. III. 

M. Dechalumeau; or, The Birthday 
Pete. 

The Demon Lover ; or, The Fright- 
ened Family. 

Eobert Macaire ; or, Les Deux Fu- 

gitifs. 

No. IY. 

Jocko, the Brazilian Ape; or, The 

Mischievous Monkey. 
The Conscript *, or, How to Avoid the 

Draft. 
The Magic Flute ; or, The Magician's 

Spell. 



The Vivandiere ; or, The Daughter of 

the Regiment. 
Dame Trot and her Comical Cat J 

or, The Misfortunes of Johnny Green- 

No. YI. 
Godenski ; or, The Skaters of "Wilnau. 
The Enchanted Horn; or, The 

"Pitches' Gift. 

No. YII. 
The Soldier for Love ; or, A Hero in 

Spite of Himself. 
Simon's Mishaps ; or, The Hungarian 

Rendezvous. 

No. Yin. 

The Village Ghost; or, Love and 

Murder both Found Out. 
The Fairies' Frolic; or, The Good 

"Wife's Three Wishes. 

No. LX. 
The Bose Of Sharon ; or, The Unlucky 

Fisherman. 
Pongo, the Intelligent Ape, and the 

Unfortunate Overseer. 

No. X. 

Mons.Toupet, the Dancing Barber; 

or, Love and Lather. 
Vol au Vent and the Millers; or, 

A Night's Adventures. 



Copies of the above will be sent by mail, on receipt of price, by SAMUEL 
FRENCH, PUBLISHER, 122 Nassau Street, New York. 



ADVERTISEMENTS. 87 



PROPERTIES. 



Helmets, Slielis, Sworts, shears, Furniture, 

PANTOMIME TRICKS, 
Masks, Heads, Trick Fireworks. 

and everything appertaining to the Stage, including 

Calcium and Prismatic Lights, and Fires of all Colors for 



Parties wishing correct Models of Pantomime Tricks, or any of the above- 
named articles, will please address either 

B. CTJTLEB, or, ) , L. w _ 

WM. WILSON, j Barnum s Museum, N. Y. 

Or, to JOHN G. "WILLIAMS, Old Bowery Theatre, N. Y. 
All orders attended to with neatness and dispatch. 

To the Theatrical Profession. 
YANDERLIP &, TAYLOR, 

Importers & Manufacturers of 

THEATEIOAL HOSIERY, 

No. 96 Bowery, New Yorle. 

Constantly^ hand and made to order, SILK, WORSTED & COTTON TIGHTS, 
of every description. 
All orders by mail, or otherwise, will receive prompt attention and be sent by 
Express to any address. 

Impersonator of Female Character, Prima Danseur, and Burlesque Prima Donna, 

Has opportunities for a few more pupils, who wish instruction in Stage, Fancy 
or Ball-Boom dancing. For terms, address 

G. "W. CHARLES, Hooley's Opera House, Brooklyn, N. Y. 

Mnsic Furnished for Amateur Performances. 

The incidental MUSIC to all PLAYS advertised in this Book, to be had of 

■JP. -W- PETERSCHEISr, 

Leader of Orchestra of Howard Athenseum Boston, Mass. 



ADVERTISEMENTS. 



O^ FOURTH AYENUE. 

TVholelesale and retail dealer in BOOKS, MUSIC, PINE STATIONERY, MUSI- 
CAL INSTRUMENTS, IMPORTED and DOMESTIC TOILET GOODS, BEAD 
"WORK, BEAUTIFUL EAGLE FEATHER FANS, made by the Indians, DESKS, 
SATCHELS, GAMES, &c. ALL NEW PUBLICATIONS. A large assortment 
of AMERICAN, ENGLISH and FRENCH PLAYS. Orders solicited, and Goods 
sent to any part of the world. 

BURNTON'S, 
92 Fourth Avenue, and 298 Bowery, N. Y. 

FRANK RIVERS & CO., 

Dramatic, Mulclljflrtian Costume, 

and PURCHASING AGENCY, 
£J5 West Houston Street, JN"e>v York. 

OFFICE HOURS FEOM 9 A. M., TO 6 P. M. 

MES. TAYLOR, 



No. 6 BLEECKER STREET, 

Three Doors from Bowery, N E\A/ YORK 



Fancy Costumes Made to Order. 

1 k nm Boot & Shoe Maker, 

No. 270 Bowery, New York. 

N. B.— Everything required by the different branches of the Dramatic, Eques- 
trian and Gymnastic Profession, made to order, and Expressed to any part of the 
United States and British Provinces. Managers of Theatres and Gymnastic 
Institutes dealt with on liberal terms. 



ADVERTISEMENTS. 89 



SHANNON &> MILLER, 

Importers of, and "Wholesale and Retail Dealers in 



MATERIALS, AND ALL KINDS OF GOLD AND SELTER TRIMMINGS, 

No. 32 Maiden Lane, N. Y. 

Goods sent C. 0. D. to any part of the United States or Canada. 

B. B. KENT'S THEATRICAL HOSIERY, 

202 Bowery, New York, 

FORMERLY GARNER'S ESTABLISHMENT, 

344 Bowery, INT. *Y*. 



All kinds of THEATRICAL and CIRCUS CLOTHING constantly on hand 
and made to orde 

PAUL LE SPOTTE, 

(FROM PARIS,) 

THEATRICAL WIG MAZER, 

IS West Houston Street, 

A few doors off Broadway, ; NEW YORK. 

BRONZE MEDAL OBTAINED IN PARIS, 1855. 

A nice assortment of THEATRICAL WIGS always on hand; also Curls, Beards, Skull Caps, 
Whiskers, Moustaches, etc. Theatres furnished -with Wigs at short notice. Character and Comic 
Wigs to hire to Amateurs. MINSTREL AND FRIGHT WIGS. 

Notice.— We manufacture no other but THEATRICAL WIGS, to -which particular branch of the 
business we devoted our time for the last ten years, in Paris and New York, Latest Improvements 
applied to all goods. Goods sent to all parts of the Union. 

"W\ J". STANTON, 

COSTUMER, 

isr:E"w bowery the A-Tre. 

Theatrical dresses and costumes of the most elaborate description made to 
order; also costumes for BAL MASQUES. 

RESIDENCE. 302 BROOME STREET, NEW YORK, 

Gr. W. TIXOJMLF&OTX, 

wmmwmsBmm mw s&>©ottiot« 

Ladies and Gentlemen fitted for any position in the Theatrical Profession, and 
engagements procured when proficient. 

Address G-. TV. THOMPSON, New Bowery Theatre, New York. 



00 ADVERTISEMENTS. 



SEYMOUR'S 



152 CANAL STREET, NEW YORK. 

Patronised by the Elite of the American Beau Monde. COSTUMES of the most 
Elaborate and Varied description, for BAL MASQUE, CHURCH, SCHOOL and 
PRIVATE TABLEAUX. MASONIC, ODD FELLOW and SONS OF TEMPER- 
ANCE REGALIA. SWORDS, WIGS, JEWELS and TIGHTS. 



Tableaux Arranged, and Private Theatricals Directed. 
.A.- O- JONES, 

THEATRICAL | j WIG MAKER, 

No. 9 fF&ivirtgton St., ( Near Bowery,) New fork, 

ECOIRSTM^JNT BROS. & ALLIEN 

MANUFACTURERS AND IMPORTERS OF 

MILITARY & THEATRICAL GOODS. 

Gold and Silver Lama Cloths, L.aces, Stage Jewelry, <&c. 
No. 8 3IA.IDEN I.A.NE, NEW YOBK. 

The Art of Beating the Tambourine Made Easy 

■will be sent, pre-paid, to any address, on receipt of $1 10, giving complete instruc- 
tions, so that any one may, in a short time, learn to Beat the Tambourine, in the 
most scientific manner. Address all letters to 

S. GUNTON & CO., Jacksonville, Morgan Co., Illinois. 

DRAMATBC PHOTOGRAPHS. 



PHOTOGRAPHS OF ALL THE PBINCIPAL 

Actors, Actresses, Opera Singers, Danseuses, Minstrels, R 

PRICE £5 CENTS EACH. $3 PER DOZEN. 

Send stamp for Catalogue. Address 

0. A, R00RBACH, 122 Nassau St., N. Y. 



ADVERTISEMENTS. 91 



HORACE WATERS' 

G- ■& EAT 

Bmsltml Sitoftliiltmsml t 

No. 481 BROADWAY, NEW YORK. ( 

PIANOS, MELODEONS, CABINET ORG-ANS 
SHEET MUSIC, MUSIC BOOKS, 

And all kinds of Musical Instruments and Musical Merchandise, at the lowest 
rates, wholesale and retail. Second-hand Pianos and Melodeons at great 
bargains. Prices, $60, $75, $100, $125, $150, $175, $200, and $225. New 7-octave 
Pianos for $250 and upward. Pianos and Melodeons to let, and rent allowed if 
purchased. Monthly payments received for the same. 

The Horace Waters Pianos and Melodeons are AS FIXE and DURABLE In- 
struments as are made. Warranted for FIVE years. Prices greatly reduced for 
cash. 

TESTIMONIALS. 

The Horace "Waters Pianos are known as among the very best.— JV. Y. Evan- 
gelist. 

We can speak of the merits of the Horace Waters Pianos from personal knowl- 
edge, as being of the very best quality. — Christian Intelligencer. 

The Horace Waters Pianos are built of the best and most thoroughly seasoned 
material. — Advocate and Journal. 

Waters' Pianos and Melodeons challenge comparison with the finest made 
anvwhere in the country. — Home Journal. 

Our friends will find a*t Mr. Waters' store the very best assortment of Music and 
of Pianos to be found in the United States. — Graham's Magazine. 

Schedule of prices of instruments and Catalogue of Sheet Music, and any Musio 
published in the United States, mailed free. 
Sheet Music, a little soiled, at \% cents per page. 
Sabbath School, and other books, published by Horace Waters. 

Sabbatli School Bell, No, 1, (850,000 copies issued.) 
Sabbath School Bell, No. 2, 

Choral Harp, 

The Diadem. 

PRICES: 
Paper Covers, $3 per doz. ; Boards, $3 60 ; Cloth Embossed, Gilt, $4 20. 

BELLS, Nos. 1 and 2, in one Volume, 

$G 60 per dozen ; Cloth Embossed, Gilt, $7 20 per doz. 

DAY SCHOOL BELL, for Public Schools and Seminaries, 
Paper Covers, $3 60 per doz. ; Board Covers, $4 20 ; Cloth, $4 80. 

THE CHRISTIAN MELODIST. 

A new Revival Hymn and Tune Book. Price, $3 per doz ; Boards, $3 60. 

Manufactory and Warerooms, 481 Broadway, New York. 



92 ADVERTISEMENTS. k 

OONN3EK, & OO.'S 

THEATRICAL AGENCY, 

J^HNTD COSTUME DEPOT. 
EIIHUWIQ) TQ> 534 i^HDW, Qw@s?t© BARNUIN'8 MStUlGfii. 



Situations procured for Artistes at all times. Instruction given, and pupils 
placed upon the stage with dispatch. Denier' s Parlor Pantomimes, Play Books, 
and all Theatrical Works forwarded to any address on receipt of price. 

JAMES CONNER & CO. 

TDE3IE^l.TK,IC^.JL. GOODS, 

Yiz. : WARDROBES, SWORDS, LACE, SPANGLES, COLORED FIRES, 
PLAYS, and everything required by Theatrical Artists, sent to any part of the 
world. Private and School Exhibitions, Private Theatricals, Tableaux, etc. 
For any of the above, address 

TONY DENIER, Care of S. French, 122 Nassau Street. 

EVERYBODY'S FRIEND 

Contains the Lady's Guide to Beauty ; Parlor Theatricals ; the Parlor Magician ; 
How to Make all kinds of Liquors without the use of poisonous articles ; How to 
Make all kinds of Powders, Rouges, Salts, Curling Fluids, Hair Dyes, etc. ; How 
to Make the Whiskers and Moustache grow; Fortune Teller, etc., etc. Price 
25 cents. 

SHORT-HAND WITHOUT A MASTER, 
By which the nature of taking down Sermons, Lectures, Speeches, Trials, etc.* 
may be attained in a few hours. Fifty-third edition, with supplement. Price 
25 cents. 

JOE MILLER, Jr. 
A Book crammed full of Jokes, Comical Stories, Witty Sayings, Funny Puns, 
Laughable Conundrums, Humorous Poetry. Price 10 cents. 

VEBTTRILOCtUISM MADE EASY, 
And the Second Sight Mystery, as practiced by Re beet Heller and others, fully 
explained. Price 15 cents. 

THE BOOK OF WONDERS, 

Tells how to make CIDER without apples, or any other fruit. It also contain^ 
the Hunter's Secret, how to catch Fish and all kinds of Game ; How to make al 1 
kinds of Liquors, all kinds of Onguents and Curling Fluids ; Gambling Exposed > 
Ventriloquism Made Easy ; Information of Importance to Ladies, etc., etc., etc* 
Price 25 cents. 

FIVE HUNDRED PHOTOGRAPHS OF THE MOST PROM- 
INENT PERSONS OF THE AGE, 

Embracing Actors, Actresses, Opera Singers, Officers of the Army and Navy, 
Statesmen, Authors, Artists, Clergymen, Kings, Queens, etc., etc., all on one 
card. Price 25 cents. 
Either of the above will be sent by mail, postpaid, on receipt of the price, by 

0. A. K00RBACH, 122 Nassau Street, New York. 

Send stamp for Catalogue of Books, Photographs, Games, etc. 



ADVERTISEMENTS. 



93 



DRAMATIC WORKS. 



THE DRAMATIC RECITER. A collection of Comic and Serious Legends, 
Tales, Dialogues, and Selections from Plays. Part 1. Price 40 cts. 

COMIC DRAMAS, FOR COLLEGE, CAMP OR CABIN. A collection of Origi- 
nal and Approved Plays, for Male Characters only. Parts 1, 2 and 3. 40 cts. each. 

SENSATION DRAMAS, FOR THE BACK DRAWING-ROOM. By Henry J. 

Byron. With 48 Illustrations, by William Brunton. Price 40 cts. 

DRAMAS, FOR COLLEGE, CAMP OR CABIN. ' Serio-Comic Plays, for Male 
Characters only. Price 40 cts. 

MASSEFS EXHIBITION RECITER, AND DRAWING-ROOM ENTERTAIN- 
MENTS. Being Choice Recitations in prose and verse, together with an Unique 
collection of Petite Comedies, Dramas and Farces, adapted for the use of Schools 
and Families. By Charles Massey, Professor of Elocution at Burlington Col- 
lege, N. J., and Mechanics' Society School, New York City. Two numbers, 30 
cts. per number. The two numbers, bound in cloth, school style, 75 cts. 

WORKS SPECIALLY ARRANGED FOR THE USE OF SCHOOLS, COLLEGES 
AND PRITATE ENTERTAINMENTS. 



An Evening's Entertainment. An 
Original Comedy, a Burlesque and 
Farce. 40 cts. 

Charades in Action, by the Brothers 
Mayhew. 40 cts. 

Punch and Judy, (illustrated). 40 cts. 

Life of a Showman, by David P. 
Miller. 40 cts. 

Joe Miller's own Jest Book. 40 cts. 

Oxberry's Chronology of English 
Stage. 40 cts. 

Shakspeare's Proverbs, bv Miss Cow- 
din Clark. 30 cts. 

Playgoer's Journal, three parts ; each 
30 cts. 



Drams for the Drawing-Room, by 
Miss Keating. 2 parts. Each, 40 cts. 

Plays for the Parlor, by Mias Keating. 
40 cts. 

Charade Dramas in French and En- 
glish, by Miss Francis. 40 cts. 

Six Charade Plays, by W. H. Smith. 
40 cts. 

Acting Charades, by Miss Pickering. 
40 cts. 

Drama for Boys, (male characters 
only), by Miss Keating. 40 cts. 

Home Plays for Ladies, (female char- 
acters only), three parts each. 40 cts. 

Burlesque Dramas, by B. B. Brough. 
40 cts. 

LACY'S DRAMATIC COSTUMES. (Now Publishing.) Sixty-six parts ready, 
each containing six splendidly colored plates. Price $1 00 each. Sold only in sets. 

ELOCUTION ; ITS PRINCIPLES AND PRACTICE. Being a Complete Manual 
of the Art of Speaking. By Henry Innes. Cloth, boards, $1 00. 

THE MODERN SPEAKER. With a practical essay on Elocution, and the best 
collection of Recitations ever published. In three parts ; each 25 cts. 

PLANCHE'S COSTUMES. Price $1 00. 

THE GUIDE TO THE STAGE. By Leman Francis Rede. Containing clear 
and full directions for obtaining Theatrical Engagements, with complete and 
valuable instructions for beginners, relative to salaries, rules, manner of going 
through rehearsals, securing proper dresses, conduct at first appearance, etc. To 
which is added a list of the principal English and American Theatres. Edited 
and adapted to the American Stage, by Francis C. Wemyss. Price 15 cts. 

Copies of the above sent free of postage, on receipt of price, by 

SAMUEL FRENCH, No. 122 Nassau St., New York. 



CRITICISMS AND DRAMATIC ESSAYS 

On tlie Eng-lisli Stage. 

By William Hazlltt. Price $2 50. 1 vol., cloth, Comprising— 



Actors and Acting. 
Dramatic Poetry. 

Minor Theatres ; Strolling Players. 
Mr. Elliston. 
Mr. Matthews at Home. 
Kean's Shylock, Kichard III., Ham- 
let, Iago, Coriolanus, etc. 
Mrs. Siddons. 
Mr. Kemble. 



Modern Comedy. 

Play-going ; some of our Old Actors. 
Adaptation of Scott's Novels. 
Farren, Terry, Jones, Liston* 
Miss O'Neill's Juliet. 

44 4 ' Elwina. 

11 u Retirement. 

Mr. Macready's Performances, 
etc., etc. 



HUSTON'S L8FE AND ENTERPRISES. 

By George Raymond. Illustrated with Portrait and Engravings on Steel, from 
designs by Phiz, Cruickshank, etc. $1 50. 
* { This is a very entertaining memoir of one of the most gentlemanly, accomplished, 
and versatile actors "who adorned the English Stage. The life of R. W. Elliston, unlike 
that of the majority of his professional brethren, affords ample material for a readable 
book, and this volume presents indubitable proof of that fact." — Post. 



THE DRAMATIC WORKS OF JOHN MARSTON. 

Reprinted from the original edition, "with Notes, and some account of his Life 
and Writings. By J. 0. Halliwell, F.R.S., F.S.A. 

3 Vols., 12mo, Cloth. $10. 00. 

11 A poet of distinguished ability in his own day, no less admired for the versatility of 
his genius in tragedy and comedy than dreaded for the poignancy of his satire ; in the 
former department the colleague of Johnson, in the latter the antagonist of Hall."— 
Rev. P. HcdL 



SHERIDAN KN0WLES' DRAMATIC WORKS. 

Containing Cains Gracchus. Virginius, William Tell, Alfred the Great, Hunch- 
back, The Wife, Beggar of Be#mal Green, The Daughter, Love Chase, 
Woman's Wit, Maid of Mariendorpt, Love, John of Procida, Old Maids, 
The Rose of Arragon, and The Secretary. 

» Vols. Steel Portrait. $6.00. 



A RECORD OF THE BOSTON STAGE 

From the earliest period to 1853, drawn from the most authentic sources, re- 
lating to Theatricals, Performers, and the Profession ; interspersed with 
Anecdotes. By W. W. Clapp, Jr. 

1 Vol., 12mo, Cloth. Price $1 25. 



j@®= Any of the above will be sent by mail, postage paid, on receipt of price. 
Send Cash Orders to 

O. A. ROOKBAOH, Jr., 

122 Nassau Street, New York. 



PARLOR TRICKS WITH CARDS. 

Containing explanations of all the Tricks and Deceptions with Playing 
Cards ever invented ; embracing Tricks with Cards performed bv 
rht of Hand, bv the aid of Memory, Mental Calculation ancl 
Arrangement of Cards, by the aid of Confederacy, and Tricks per- 
formed by the aid of Prepared Cards. The whole illustrated and 
made plain and easy. 

"With. Seventy Engravings. Price 50 cts. 



, PARLOR .THEATRICALS? 

OR, TVENTXEI^ EA^XIXG THEATRICU^S. 

Containing Acting Proverbs. Dramatic Charades. Acting Charades, or 
Drawing-room Pantomimes, Musical Burlesques. Tableaux Vivants, 
etc., etc., with Instructions for Amateurs ; hoi tract a 

- e and Curtain ; how to get up Costumes and Properties ; on 
the Making-up of Characters; Exits. Entrances, how to arrange 
Tableaux, etc. 

Illustrated, Price 50 cts. > 



THE GREAT WIZAED OF.THE NORTH'S 

HAND-BOOK OF NATTTKAL^ MAGIC 

Being a series of the newest Tricks of Deception, arrangedfor amateurs 
and lovers of the art, etc. Bv Peofzssoe J. H. Axbebsoh. Eightv- 
fifth Edition. 

, Price 25 cts. 



BOOK OF 500 CURIOUS PUZZLES. 

Containing a large collection of entertaining Paradoxes,' Perplexing 
Deceptions in Numbers, and Amusing Tricks in Geometry.^ Illus- 
trated with a great variety of Engravings. 

Price 30 cents. 



J8S- Either of the above sent bv mail, postage paid, on receipt of 
the price. Address orders to 

O. A. ROORBACK, 

122 Xassau Street, _V. r. 



THE MAG-ICIAN'S OWN BOOK; 

A COMPLETE GUIDE TO THE ART OF CONJURING. 

Being a Hand-book of Parlor Magic, and containing several hundred 
amusing Magical, Magnetical, Electrical and Chemical Experi- 
ments. Astonishing Transmutations, Wonderful Sleigh t-of-H and 
and Card Tricks, Curious and Perplexing Puzzles, Quaint and En- 
tertaining Tricks and Questions in Numbers, Secret Writing ex- 
plained, Sleights and Subtleties in Legerdemain, etc., together 
with all the most noted Tricks of Modern Performers. Illustrated 
with over 500 Wood Engravings. 12mo, cloth, gilt side and back 
stamp, 400 pages. Here is the whole process made simple of man- 
ipulating the cards, and performing tricks with sleight of hand. 
Price $1 5 3. 



THE PARLOR MAGICIAN; 

OE, ONE HUNDBED THICKS FOB THE DKAWING-KOOM. 

Containing an extensive and miscellaneous collection of Conjuring and 
Legerdemain ; Sleights with Dice, Dominoes, Cards, Ribbons, 
Rings, Eruit, Coin, Balls, Handkerchiefs, etc., all of which may be 
Performed in the Parlor or Drawing-room, without the aid of any 
apparatus ; also embracing a choice variety of Curious Deceptions 
which may be performed with the aid of simple apparatus ; the 
whole illustrated and clearly explained, with 121 Engravings. 
Price 50 ets. 



THE SECRET OUT; 

OE, ONE THOUSAND THICKS WITH CAEDS. 

A book which explains all the Trieks and Deceptions with Playing Cards 
ever known or invented. This book contains, in addition to its nu- 
merous Card Tricks above described, full and easily understood ex- 
planations of some two hundred and forty of the most curious, 
amusing and interesting sleight-of-hand tricks ever invented, and 
which are illustrated by Engravings to make each Trick under- 
stood with ease. Illustrated by about 300 Engravings, and bound 
in a handsome gilt binding. It contains about 4£0 pages. 
Price $150. 



THE SOCIABLE; 

OE, ONE THOUSAND AND ONE HOME AMUSEMENTS. 

Containing Acting Proverbs, Dramatic Charades, Acting Charades, or 
Drawing-room Pantomimes, Musical Burlesques, TableauxVivants, 
Parlor Games, Games of Action, Forfeits, Science in Sport and 
Parlor Magic, and a choice collection of curious Mental and Me- 
chanical Puzzles, etc. Illustrated with nearly 300 Engravings and 
Diagrams, the whole being a fund of never-ending entertainment. 
By the author of " The Magician's Own Book." Nearly 400 pages 
12mo, cloth, gilt side stamp. 

Price $1 50. 



JKSr Either of the above sent by mail, postage paid, on receipt of the 
price. Address orders to 

O- -£l. ROOIR.IB.A.OIEI, 

122 Nassau St., 1ST. Y. 



(Catalogue continued from second page of cover.) 



'.OL. XLI. 
the Pirate's Legacy 
rThe Charcoal Burner 
! Adelgitha 
I Sen or Yaliente 
i Forest Rose 
i Dnke's Daughter 
Camilla's Husband 
.eld 



VOL. XLII. 

329 Ticket of Leave Man 

330 Fool's Revenge 

331 O'N'eilthe Great 

332 Handy Andy 

333 Pirate of the Isles 

334 Fanchon 

335 Little Barefoot 

336 Wild Irish Girl 



VOL. XLIII. 

337 Pearl of Savov 

338 Dead Heart 



Hamlet, in Three Ac 
The Oath of Office 



Gunle & Gulpit 



Bound Volumes, containing Eight Plays $1 25 

The Guide to the Stage, by Lemax Thomas Rede. Containing Clear and Full Directions for obtaining 
Theatrical Engagements, with complete and valuable instructions for beginners, relative to salaries, rules, man- 
ner of goiu? through Rehearsals. securing proper dresses, conduct at a first appearance, &c, Ac. To which is 
added a list of the principal English and American Theatres. Edited and adapted tbe American Stage bv 
Francis C Vkmtss. Pnce 15 Cents. 



Massey's Exhibition Reciter and Drawing: Room Entertainments. 
Being choice Recitations in prose and verse. Together with an unique collection of 
Petite Comedies, Dramas and Farces, adapted for the use of Schools and Families. 
By Charles Massey, Professor of Elocution at Burlington College, N. J., and Me- 
chanics* Society School, Xew York City. Two numbers per number, 

The Two numbers, bound in cloth, School style 

Dramas for the Drawing: Room, by Miss Keating 

Plays for the Parlor, by Miss Keating 

Acting: Charades, by Miss Pickering 

Joe Miller's Own Jest Book 

Life of a Showman, by David Prince Miller 

Punch, and Judy, Illustrated 

Comic Dramas, for College, Camp, or Cabin, (Male Characters only,). 

Dramas for Boys, (Male Characters only,) by Miss Keating 

Home Plays for Ladies, (Female Characters only.) complete in 2 parts each 

An Evening's Entertainment, an original Comedy, a Burlesque and Farce 

Shakspeare's Proverbs, by Mrs. Cowdin Clarke 

Playgoer's Journal, 3 parts each 



30 
75 
40 
40 
40 
40 
40 
40 
40 
40 
40 
40 
30 
30 



THE ETHIOPIAN DRAMA. 

Uncle Jeff. 

The Mischievous Nigrg-er. 

The Black Shoemaker. 

The Magic Penny. 

The Wreck. 

Oh, Hush ! or, The Vir- 
ginny Cupids. 

The Portrait Painter. 

The Hoprof Fashion. 

Bone Squash.. 

The Virginia Mummy. 

Thieves at the Mill. 

Comedy of Errors. 
The above Dramas have been produced with the utmost care, not only to the correctness 
to the test, but to ail the Stage Directions, Properties, and other minutiae, pertaining to 
their being properly placed on the Stage. Although these Dramas are specially adapted 
for Ethiopian entertainments, they are well fitted for Private Theatricals. 

D£^~ NOTICE.— Our i ng to the continued increase in price of Press "Work, Paper and 
Binding, toe shall be obliged to charge Fifteen Cents at Retail, for the Standard and Minor 
Drama.— January 1st, 1864. 

Any of the above sent by Mail or Express on receipt of price. 

SAMUEL FRENCH, Publisher, 

122 Nassau Street, (Up Stairs.) 

Agent for Lacy's, Cumberland's, and Webster's English Play?. 



No. 1. 


Robert Make-Airs. 


No. 14. 


2. 


Box and Cox. 


15. 


3. 


Mazeppa. 


16. 


4. 


United States Mail. 


17. 


5. 


The Coopers. 


18. 


6. 


Old Dad's Cabin. 


19. 


7. 


The Rival Lovers. 




8. 


The Sham Doctor. 


20. 


9. 


Jolly Miilers. 


21. 


10. 


Villikins and his Dinnah. 


22. 


11. 


The Q,uaek Doctor. 


23. 


12. 


The Mystic Spell. 


24. 


13. 


The Black Statue. 


25. 



inSSSX 0F CONGRESS 



F f EN £Hly20T3i™4:MAn 

Stfjftjk*"* 73IrelanI^ndfmerica (lift OtfJKL *** L- ™h Will. V 



1 The Irish Attorney 

2 Boots at the Swan 

3 How to pay the Rent 

4 The Loan of a Lover 

5 The Dead Shot 
I 6 His Last Legs 

7 The Invisible Prince 
I 8 The Golden Farmer 
i VOL. II. 

j 9 Pride of the Market 

10 Used Up 
! 1 1 The Irish Tutor 

12 The Barrack Room 

1 3 Luke the Laborer 

14 Beauty and the Beast 

15 St. Patrick's Eve 

16 Captain of the Watch 

VOL. HI. 

17 The Secret [ pe rs 
In Z hite Horse of tQ e Pep 

19 The Jacobite 

20 The Bottle 

21 Box and Cox 

22 Bamboozling 

23 Widow's Victim 

24 Robert Macaire 

vol, iy. 

25 Secret Service 

26 Oniaibus 

27 Irish Lion 

28 Maid of Croissy 

29 The Old Guard 
!| 30 Raising the Wind 

31 Slasher and Crasher 
| 32 Naval Engagements 
< VOL. V. 

33 Cocknies in California 

34 Who Speaka First 

35 Bombastes Furioso 

36 Macbeth Travestie 

37 Irish Ambassador 

38 Delicate Ground 

39 The Weathercock [Gold 

40 All that Glitters is Not 

VOL. VI. 

41 Grimshaw, Bagshaw and 

Bradshaw 

42 Rough Diamond 

43 Bloomer Costume 

44 TwoBonnycaslles 

45 Born to Good Buck 

46 Kiss in the Dark I jurer 
fJ'Twmld Puzzle a Con- 
48 Kill or Cure 



73 Ireland and America jl45 ColuUbus * IX ' | 2l7 CrJ n Jt' XXYUh 

16T PSS- 4^S-£aSmo C k S^SS^Z 



Five Pounds 

77 That Blessed Baby 

78 Our Gal 

79 Swiss Cottage 

80 Young Widow 

VOL. XI. 

81 O'Flannigan and the Fa- 

82 Irish Post i r i es 

83 My Neighbor's Wife 1 

84 Irish Tiger 

85 P. P., or Man and Tiger 

86 To Oblige Benson 

87 State Secrets 

88 Irish Yankee 



149 r-™,? * m \ m A Mat(:h ™ the Dark 

149 Comedy and Tragedy 222 Advice to Husbands 

150 Opposite Neighbors 99a hso««,„„ m_r__ an<u 



VOL. XII. 

89 A Good Fellow 

90 Cherry and Fair Star 

91 Gale Breezely 

92 Our Jemimy 

93 Miller's Maid 

94 Awkward Arrival 
93 Crossing the Line 

96 Conjugal Lesson 
VOL. XIII. 

97 My Wife's Mirror 

98 Life in New York 

99 Middy Ashore 

100 Crown Prince 

101 Two Queens 

102 Thumping Legacy 

103 Unfinished Gentleman 

104 House Dog 

VOL. XIV. 

105 The Demon Lover 

106 Matrimony 

107 In and Out of Place 



150 Opposite Neighbors 

151 Dutchman's Ghost 

152 Persecuted Dutchman 

VOL. XX. 

153 Musard Ball 

154 Great Tragic Revival 



223 Siamese Twins 

224 Sent to the Tower 

VOL. XXIX 
(225 Somebody Eise 

226 Ladies' Battle 

227 Art of .Acting 



Iks 5; ■TV*^' 5 "' ^c^vai r42i Art of Actine 
56 ??pi?J JaCk , & G H 228 The Lady of the Lion. 
VWTnS eQt ' en T ian from I™- 229 The Rights of Man 
158 vT^ d T JenT flaDd 23 ° M ? Husband's Ghost 

158 Village Lawyer 231 Two Can Plav at that 

159 Captain's not A-miss Game 7 ' * 

160 Amateurs and Actors 232 Fighting by Proxv 
VOL. XXI. 

161 Promotion 



108 I Dine with My Mother ]8 ° Bachelor's Bedroom 

109 Hi-a-wa-tha |f£l A Roland for an Oliver 



162 A Fascinating Individ 

163 Mrs. Caudle 

164 Shakspeare's Dream 

165 Neptune's Defeat 

166 Lady of Bedchamber 

167 Take Care of Little 

168 Irish Widow | Charley 

VOL. XXII. 

169 Yankee Peddlar 

170 Hiram Hireout 

171 Double-nedded Room 
1(2 The Drama Defended 

173 Vermont Wool Dealer 

174 Ebenezer Venture iter 

175 Principles /rom Charac- 

176 Lady of the Lake (Trav) 
_ VOL. XXIII. 

177 Mad Dogs 

178 Barney the Baron 

179 Swiss Swains 



109 Hi-a-wa-tha 

110 Andy Blake 

111 Love in '76 



~-«. ..j. J.VUJO.UU. iui a,u u liver 
182 More Blunder* than One 
,183 Dumb B3ii e 



ill Love in '76 'ties 18d uunib B - l] e 

112 Romance under Difficul-' 181 LlE3 erick Boy 

VOL. XXIV. 
18o Nature and Philosophv 
186 Teddy the Tiler 



VOL. VII. 
f9 Box and Cox Married and 
50 St. Cupid I Settled 

ol Go-to-bed Tom 

52 The Lawyers 

53 Jack Sheppard 

54 The Toodles 

55 The Mobcap 

56 Ladies Beware 

VOL. VIII 

57 Morning Call 

58 Popping the Question 

59 Deaf as a Post 

60 New Footman 

61 Pleasant Neighbor 

62 Paddy the Piper 

63 Brian O' Linn 

64 Irish Assuranc 



VOL. XV. 

113 One Coat for 2 Suits 

114 A Decided Case 

115 Daughter inority 

116 No; or, the Glorious Mi 

117 Coroner's Inquisition 

118 Love in Humble Life 

119 Family Jars 

120 Personation 



I m VOL. IX. 

65 Temptation 

66 Paddy Carey 

67 Two Gregories 

68 King Charming 

69 Po-ca-hon-tas 
JOClockmaker's Hat 

71 Married Rake 

72 Love and Murder 

VOL. XXXVII. 

289 All the World's a Stage 

290 Quash, or Nigger Practie* 

291 Turn Him Out 

292 Pretty Girls of Stillberg 

293 Angelof the Attic 

294 Circumstances Alter Cases 
296 Katty O'Sheal 

296 ASupperinDiiie 



VOL. XVI. 

121 Children in the Wood 

122 Winning a Husband 

123 Day after the Fair 

124 Make Your Wills 

125 Rendezvous 

126 My Wife's Husband 

127 Monsieur Tonson 

128 Illustrious Stranger 
VOL. XVII 

129 Mischief-Making [Mines 

130 A Live Woman in the 

131 The Corsair 

132 Shylock 

133 Spoiled Child 

134 Evil Eye 

135 Nothing to Nurse 

136 Wanted a Widow 



VOL. XVIII. 
137 Lottery Ticket 
133 Fortune's Frolic 

139 Is he Jealous * 

140 Married Bachelor 

141 Husband at Sight 

142 Irishman in London 

143 Animal Magnetism 

144 Highways and By-JTays 



187 Spectre Bridgroom 

188 Matteo Falcone 

189 Jenny Lind 

190 Two Buzzards 

191 Happy Man 

192 Betsy Baker 
VOL. XXV. 

193 No. 1 Round the Corner 

194 Teddy Roe 

195 Object of Interest 

196 My Fellow Clerk 

197 Bengal Tiger 

198 Laughing Hyena 

199 The Victor Vanquished 

200 Our Wife 
VOL. XXVI. 

201 My Husband's Mirror 

202 Yankee Land. 

203 Norah Creina 

204 Good for Nothing 
1 205 The First Night 
J206 The Eton Boy 
j 207 Wandering Minstrel 

208 Wanted, 1000 Milliners 
i VOL. XXVII. 

209 Poor Pilcoddy 

210 The Mummy [Glasses 

211 Don't Forge ty our Opera 

212 Love in Livery 

213 Anthony and Cleopatra 

214 Trying It On. 
;2I5 Stage Struck Yankee 

216 Young Wife & Old Urn 
I brella 



VOL. XXX. 

233 Unprotected Female 

234 Pet of the Petticoats 

235 Forty and Fifty [book 

236 Who Stole the Pocket- 

237 .My Son Diana [sion 

238 Unwarrantable I n t r u- 

239 Mr. and Mrs. White 

240 A Quiet Family 
VOL. XXXI. 

241 Cool as Cucumber 

242 Sudden Thoughts 

243 Jumbo Jum 

244 A Blighted Being 

245 Little Toddlekim 

246 A Lover by Proxy [Pail 

247 Maid with the Milking 

248 Perplexing Predicament 
o. ft ^ VOL. XXX 1 I. 

249 Dr. Dilworth 

250 Out to Nirsr 

251 A LuckT Hi 

252 The Dowager 

253 Metamora '.Burlesque) 

254 Dreams of Delusion 

255 The Shaker Lovers 

256 Ticklisr Times 

rm VOL. XXXIII. 
2o7 20 Minutes with a Tiger 

258 Miralda: or, the Justice 

of Tacon 

259 A Soldier' s Courtship 

260 Servants by Legaey 

261 Dying for Love 

262 Alarming Sacrifice 

263 Valet de Sham 

264 Nicholas Nickleby 

VOL. XXXIV. 

265 The Last of the Pigtails 

266 King Rene's Daughter 

267 The Grotto Nymph 

268 A Devilish Good Joke 

269 A Twice Told Tale 

270 Pas de Fascination 

271 Revolutionary Soldier 

272 A Man Without a Head 



VOL. XXXV. 

273 The Olio, Part 1 

274 The Olio, Part 2 

275 The Olio, Parts [ter 

276 The Trumpeter's Daugh- 

277 Seeing Warren 

278 Green Slountain Boy 

279 That Nose 

280 Tom Noddy's Secret 
VOL. XXXVI. 

281 Shocking Events 

282 A Regular Fix 

283 Dick Turpin 

284 Young Scarry 

285 Young Actress 

286 Call at No. 1-7 

287 One Toucn of Nature. 
""*" Two B'hoys 



r*F Any Play sent by Mail or Express, on receipt of 15 cents, in money or stamps. 
All orders will receive prompt attention. 
* . * An Alphabetical List of 8000 Plays sent by Mail on reeeipt of a Postage Stamp. 
SAMUEL FRENCH. Publisher, 122 Nassau St. (upstair*:. 



I ) 



